anxa 

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ROPOLITAN  MUSEUM  OF  ART 


HAND-BOOK  No.  8. 


DRAWINGS 


WATER-COLOR  PAINTINGS 


PHOTOGRAPHS  AND  ETCHINGS 


PUBLISHED  BY 


THE  METROPOLITAN  MUSEUM  OF  ART. 


PRICE  10  CEJVTS. 


THE  METROPOLITAN  MUSEUM  OF  ART 


HAND-BOOK  No.  8. 


DRAWINGS 

WATER-COLOR  PAINTINGS 
PHOTOGRAPHS  AND  ETCHINGS 


PUBLISHED  BY 


THE  METROPOLITAN  MUSEUM  OF  ART. 


INTRODUCTORY  NOTE. 


This  Colleciion  of  Drawings  is  composed  of  two  f.  or  Hons  : the 
first,  Numbers  i to  6,70,  was  begun  in  the  latter  part  of  the  last  cen- 
tury by  Count  Maggiori,  of  Bologna^  a learned  scholar  and  connois- 
seur, and  a member  of  the  Academy  of  Sciences  in  that  city.  It  has 
gradually  beeti  increased  by  additions  from  the  celebrated  collections 
■of  Signor  Marietta,  Professor  Angelini,  Doctor  Guastalla  and  Mr. 
James  Jackson  Jarves,our  Vice-Consul  at  Florence. 

In  1880,  it  was  purchased  from  the  latter  gentleman  and 
generously  presented  to  the  Museum  by  Mr.  CORNELIUS 
Vanderbilt,  one  of  Us  Trustees. 

The  other  portion.  Numbers  671  to  851,  was  collected  by 
Mr.  Cephas  G.  THOMP son,  who  generously  presented  it  to  the 
Museum  in  1887. 

The  attributions  of  authorship  are  by  former  owfiers.  In  ?nany 
instances  the  drawings  bear  the  artist's  own  signature,  sometimes  with 
the  presentation  to  a friend. 


CATALOGUE 


I.  VANDERBILT  COLLECTION. 

1.  Fra  Sebastiano  Luciano,  called  dee  Piombo,  “of  the  leaden  seal  ” 
(b.  Venice,  1485,  d.  Rome,  1547;  studied  under  the  aged  Giovanni 
Bellini  [Venetian,  1422-15 12]  and  under  Giorgione  [see  No,  420];  de- 
veloped first  as  a portrait-painter ; invited  to  Rome  by  Agostino  Chigi 
to  work  upon  his  palace,  now  the  Farnesina;  feeling  his  inferiority  to 
Raphael,  studied  under  Michael  Angelo,  who  is  said  to  have  furnished 
him  designs;  commissioned  for  companion-piece  to  the  Transfiguration 
of  Raphael;  the  two  pictures  exhibited  together ; after  Raphael’s  death, 
the  most  distinguished  painter  in  Rome; — coloring  very  beautiful,  but 
design  weak  and  execution  irresolute). — A Birth-Scene. 

2.  POLIDOEO  Caldaea  DA  Caeavaggio  (b.  Caravaggio,  1495,  murdered, 
Sicily,  1543;  very  poor;  went  to  Rome  and  carried  mortar  for  artists  in 
the  Vatican;  tried  imitating  Raphael’s  designs  with  enough  success  to  be- 
come his  pupil;  persistent  student  of  the  antique;  painted  friezes  accom- 
panying Raphael’s  works  in  the  Vatican;  executed  many  frescoes  with 
his  friend  Maturino  [see  No.  42];  1527,  driven  from  Rome  to  Naples 
and  Sicily  by  the  Spanish  invasion;  got  employment  in  Naples  through 
Andrea  del  Sarto  [see  No.  104];  murdered  for  a paltry  sum  of  money). 
— Roman  Scene. 

3.  School  of  Raphael.  [See  No.  44.] — Figures. 

4.  Giulio  Romano  (painter  and  architect;  b,  Rome,  1492,  d.  1546; 
favorite  pupil  of  Raphael;  his  joint-heir  with  G.  F.  Penni  [see  No.  39]; 
rebuilt  and  decorated  the  palace  at  Mantua,  which  was  his  greatest  work 
both  in  painting  and  architecture;  prevented  by  death  from  becoming 
architect  of  St.  Peter’s; — excellent  in  battle-scenes;  had  somewhat  of 
Michael  Angelo’s  grand  style,  but  was  sometimes  too  harsh  and  violent 
in  his  designs). — Waiting  at  the  Gates. 

5.  School  of  Giulio  Romano. — Cavalry  Battle. 

6.  School  of  Raphael.  [See  No.  44.]— Two  Nude  Athletes. 

7.  PiEEiNO  DEL  Vaga. — Historical  Scene, 

8.  School  of  Raphael.  [See  No.  44  ]— Two  Female  Figures. 


4 


Metropolitan  Museum  of  Art. 


9.  Cavaliere  Giovanni  Lorenzo  Bernini  (painter,  sculptor,  architect; 
b.  Naples,  1598,  d.  Rome,  1680;  very  precocious;  genius  observed  and 
nourished  from  the  first;  astonishingly  popular  and  sought  for  at  Rome, 
in  F ranee  and  England ; many  works  at  Rome ; very  ardent  temperament ; — 
developed  an  affected  style  which,  though  very  influential,  was  also  very 
short-lived). — An  Angel  in  Adoration. 

10.  Andrea  Pozzo  (painter,  architect;  b.  Trent,  1642,  d.  Vienna,  1709; 
educated  by  observing  great  works  at  Turin,  Venice  and  Rome;  a Jesuit, 
and  much  employed  by  his  order;  worked  at  Rome,  Genoa  and  Vienna; — 
able  and  correct  designer;  excellent  colorist;  most  facile  in  execution). — 

St.  Augustine  and  the  Child  on  the  Sea-shore. 

11.  School  of  Eaphael. — Saint  and  Three  Children. 

12.  Giovanni  Francesco  Penni.— After  a Battle  or  a Plague. 

13.  Giulio  Eomano.  [See  No.  4.]— A Battle. 

14.  School  of  Eaphael.  [See  No.  44.] — An  Athlete. 

15.  Giulio  Eomano.  [See  No.  4.]— Nude  Figure  with  Cloak. 

16.  Giulio  Eomano.  [See  No.  4.] — Soldiers  and  Leopards. 

17.  Cavaliere  Giovanni  Lanfranco  (b.  Parma,  1581,  same  day  with 
Domenichino  [see  No.  234],  d.  Rome,  1648;  early  under  Agostino 
Caracci  [see  No.  250];  studied  Correggio’s  works  carefully;  then  under 
Annibale  Caracci  [see  No.  250]  at  Rome;  very  envious  of  Domenichino, 
whom  he  crowded  out  of  several  partially  finished  commissions;  com- 
pleted cupola  of  S.  Andrea  della  Valle  begun  by  Domenichino,  with 
surprising  skill; — lacked  sweetness  and  grace;  negligent  in  execution, 
exuberant,  but  unreasoning  in  invention). — Monk  Reading. 

18.  Unknown.— A Saint  Healing  the  Sick. 

19.  Unknown. — The  Entombment. 

20.  Unknown. — Man  Walking. 

21.  Giulio  Eomano.  [See  No.  4.]  - Historical  Scene. 

22.  Unknown.— Four  Men  Arguing. 

23.  Antonio  Tempesta  (painter,  engraver;  b.  Florence,  1555,  d.  1630; 
pupil  of  Santo  di  Titi  [see  No.  128]  and  of  Giovanni  Stradano  [Flemish- 
Florentine,  1536-1605];  enormously  fertile;  excelled  in  cavalry  skirmishes; 
painted  history  and  landscape,  besides  doing  much  decorating;  works 
usually  quite  small;  produced  a multitude  of  etchings  of  mythological 
and  sacred  subjects). — A Skirmish. 

24.  j^.NTONio  Tempesta.  [See  No.  23.] — A Group. 

25.  Giulio  Eomano.  [See  No.  4.] — Page  Presenting  Wine. 


Catalogue  of  Drawings. 


5 


36.  PoMPEO  Batoni,  (b.  Lucca,  1708,  d.  Rome,  1787;  once  very  popular, 
but  of  ordinary  talent  and  slight  education). — Bull-Fight. 

27.  Giuiiio  Komano. — A Cavalry  Skirmish. 

28,  NlCCOiiO  DEiiij’  Abati  (b.  Modena,  1512,  d.  Paris  1571;  pupil  of 
sculptor  Antonio  Begarelli  [Modenese,  1499-1565],  perhaps  of  Correggio 
[see  No.  215];  after  acquiring  high  repuration  at  Modena,  invited  to 
Bologna;  there  admired  by  the  Caracci  [see  Nos.  249,  2 o,  263];  prin- 
cipal assistant  of  Primaticcio  [see  No.  302]  at  Fontainebleau;  skillful 
and  facile,  rather  than  masterl)). — Triumph  of  Neptune. 

39.  PiERiNO  DEL  Vaga.  [See  No.  34.] — Christ  Carrying  the  Cross. 
(After  Raphael.) 

30.  Marco  Antonio  Baimondi  (engraver;  b.  Bologna,  1487-8,  d.  about 
1539;  pupil  of  Francesco  Raibolini  [Bologmse,  1450-1518];  attracted 
Raphael’s  notice;  employed  by  him  and  by  Giulio  Romano  to  engrave 
their  works;  style  excellent;  im  tated  Andrea  Mantegna  [see  No.  189], 
and  afterwards  Diirer  [see  No.  479]). — St.  Paul  Preaching  at  Athens. 
(After  Raphael’s  cartoon,  now  in  England  ) 

31.  Giovanni  Carlo  Lotti,  or  Loth  (b.  Munich,  1632,  d.  1698;  formed 
his  style  by  studying  the  works  of  M.  A Caravagoio  [see  No.  324]  and  as 
pupil  of  Cav.  Pietro  Liberi  [Venetian,  1605-1687];  painted  mostly  at 
Venice  and  Vienna;  imitated  Guercino  [see  No.  280]  somewhat). — The 

Sacrifice  of  Isaac. 

33.  Gerard  Honthorst,  called  Gherado  dalle  Notti  (b.  U trecht,  1592, 
d.  Hague.  1660;  pupil  of  Abraham  Bloemart  [Dutch,  1564-1647],  but 
■coming  to  Rome  became  an  imitator  of  M.  A.  Caravaggio  [see  No.  324]; 
after  a considerable  stay  in  Italy,  visited  England,  and  finally  settled  at 
Hague; — nicknamed  from  his  constant  choice  of  night-scenes  with  their 
advantages  for  striking  effects  of  chiaroscuro). — The  Adoration  of  the 
Shepherds. 

33.  Niccolo  dell’ Abate  [-^ee  No.  28.]— A Roman  Triumph. 

34.  PiERiNO  Buonaccorsi,  called  del  Vaga,  after  one  of  his  teachers 
(b.  near  Florence,  1500,  d.  Rome,  1547;  early  placed  under  Ghirlandajo 
■[Florentine,  1485-156  ];  1515,  taken  to  Rome  by  del  Yaga;  introduced 
to  Giulio  Romano  [see  No,  4]  and  G.  F.  Penni  [see  No.  39];  finally  ad- 
mitted to  Raphael’s  school;  assisted  Raphael,  Giovanni  da  Udine  [see 
No.  576],  Giulio,  Penni  and  Polidoro  [see  No.  2];  1527,  driven  to  Genoa 
by  sack  of  Rome  by  the  Spaniards;  there  employed  on  the  Palazzo  Doria; 
later  returned  to  Rome  and  was  extensively  patronized had  great 
versati'ity  and  some  of  Raphael’s  power  and  spirit,  but  to  make  money 
contented  himself  with  providing  designs  for  assistants  to  execute). 
— Christ  and  the  Woman  of  Samaria. 


6 


Metropolitan  Museum  of  Art. 


35.  School  of  Polidoro  da  Caravaggio.  [See  No.  2.] — Mucius 
Scaevola  Burning  off  his  Hand  before  Porsenna. 

36.  School  of  Raphael.  [See  No.  44.]— Nude  Figure  Looking  Up- 
ward. 

37.  Unknown. — A Saint  Reading. 

38.  Unknown. — Woman  Kneeling. 

39.  Giovanni  Francesco  Penni,  called  II  Fattore,  “the  apprentice ” 
(b.  Florence,  1488;  d.  Rome,  1528;  early  settled  in  Rome;  pupil  of 
Raphael;  became  his  steward,  and,  with  Giulio  Romano,  was  made  joint- 
heir  of  his  estate  and  charged  with  completing  his  unfinished  works ; — 
close  imitator  of  Raphael;  so  few  of  his  works  remain  that  his  own  ability 
cannot  be  determined). — The  Virgin  and  Child. 

40.  Polidoro  da  Caravaggio.— The  Rape  of  the  Sabines. 

41.  School  of  Raphael. — Soldier  Pursuing  a Man  in  a Crowd. 

42.  Maturino,  (b.  Florence,  1490,  d.  Rome,  ? 1527-8;  scholar  and  assistant 
upon  details  of  Raphael;  fellow-student  of  antiques  with  Polidoro  [see 
No.  2],  and  his  intimate  friend  and  business  partner;  after  Polidoro  the 
most  graceful  and  popular  decorator  of  his  time). — Warriors  Fighting 
from  the  Back  of  an  Elephant. 

43.  Giulio  Romano.  [See  No.  4.] — The  Massacre  of  the  Innocents. 

44.  Raffaello  Sanzio  (born  Urbino,  1483;  died  Rome,  1520;  first  studied 
with  Perugino  [see  No.  172];  1501,  assistant  of  Pinturicchio  at  Siena; 
about  1504  visited  Florence  and  saw  works  of  Michael  Angelo  [see  No. 
92],  of  Leonardo  [see  No.  186],  and  of  older  masters;  especially 
influenced  by  Masaccio  [see  No.  121];  about  1508  summoned  to  Rome 
for  work  upon  the  Vatican;  employed  there  until  his  death;  principal 
works  there,  though  many  smaller  pictures  elsewhere; — the  most 
symmetrically  developed  of  all  painters;  extremely  fertile  in  design,  rapid 
and  accurate  in  execution,  and  thoroughly  grateful  and  poetic  in  senti- 
ment; inspired  a host  cf  followers  and  imitators). — Group  in  the  Mas- 
sacre of  the  Innocents. 

45.  M.  A.  Raimondi.  [See  No.  30.]— Composition  for  a Spandrel. 

46.  Niccolo  dell’  Abate  [See  No.  28.] — Storming  a City. 

47.  Unknown  (Roman  School). — The  Massacre  of  the  Innocents. 

48.  Unknown.— Historical  Scene. 

49.  Carlo  Maratti  (b,  Camurano.  1625,  d.  Rome,  1713;  favorite  pupil  of 
Andrea 'Sacchi  [Roman,  1599-1661];  persistent  student  of  Raphael’s 
style  [see  No.  44];  painted  many  Madonnas; — correct,  elegant  and 
pleasing,  but  negative  and  imitative). — The  Holy  Family,  Attended 
by  Cherubs. 


Catalogue  of  Drawings. 


50.  Niccolo  DEiiii’  Abati.  [See  No.  28.] — Historical  Scene. 

51.  Unknown. — Subject  Doubtful. 

52.  Giulio  Romano.  [See  No.  4.] — The  Madonna  and  Child. 

53.  Francia  Bigio.— a Birth  Scene. 

54.  Philip  Roos,  called  Rosa  DA  Tivoli  (b  Frankfurt,  1655,  d.  Rome, 
1705;  sent  to  Italy  by  Landgrave  of  Hesse;  eager  student,  confining  his 
attention  principally  to  rural  scenes,  designing  entirely  from  nature, 
settled  at  Tivoli  where  his  work  could  be  easiest  prosecuted;  a real  genius, 
very  successful  with  landscapes  and  cattle;  ruined  by  dissipation). — A 
Pastoral. 

55.  PiEEiNO  DEL  Vaga.  [See  No.  34.] — Study  for  a Statue. 

56.  Unknown  (late). — Virginius  and  Virginia  (?). 

57.  Daniele  Ricoiarelli  da  Volterra  (b.  Volterra,  1609,  d.  Rome, 
1566;  pupil  of  II  Sodoma  [see  No.  179],  Peruzzi  [see  No.  145],  del  Vaga 
[see  No.  34],  and  Michael  Angelo  [see  No.  92];  1547-9,  succeeded  del 
Vaga  as  superintendent  of  public  works  in  the  Vatican;  employed  by 
Paul  IV.  to  clothe  nude  figures  in  Angelo’s  Last  Judgment  his  greatest 
work,  the  Deposition  from  the  Cross,  in  the  Cappella  Orsini  in  the 
Church  of  La  Trinita  dei  Monti,  ranked  only  below  Raphael’s 
Transfiguration  and  Domenichino’s  Communion  of  St.  Jerome;  it  was 
destroyed  in  the  attempt  to  remove  it  from  Italy). — Ecce  Homo. 

58.  Raffaello  Sanzio.  [See  No.  44  ] — Figure  of  Man  with  out- 
stretched arms  about  to  plunge  downward. 

59.  Pietro  Testa.  [See  No.  82.]— Martyrdom  of  St.  Andrea. 

60.  Andrea  Pozzo.  [See  No.  10.]— Apollo  Slaying  the  Python. 

61.  PoLiDORO  DA  Caravaggio.  [See  No.  2.]— Historical  Scene. 

62.  Unknown  (Roman  School). — Antiope,  one  of  the  Amazons. 

63.  PoMPEO  Batoni.  [See  No.  26.] — Hercules  (and  the  Apples  of  the 
Hesperides?). 

64.  Unknown.  (Roman  School). — Soldier  Carrying  a Helmet. 

65.  PoLiDORO  DA  Caravaggio.  [See  No.  2.]— Sack  of  a City. 

66.  Unknown. — Building  with  Tower. 

67.  Daniele  DA  Volterra.  [SeeNo.  57.] — Studies  of  Falling  Figures. 

68.  Unknown. — Group  of  Heads. 

69.  PoMPEO  Batoni.  [See  No.  26.]— A Centaur. 

70.  School  of  Raphael.  [See  No.  44.]— The  Sacrifice  of  Noah. 


8 


Metropolitan  Museum  of  Art. 


71.  Unknown.  (Roman  School).— A Head. 

72.  Unknown.— Figure. 

73.  Unknown. — Historical  Scene. 

74.  School  of  Kaphael.  [See  No.^44.] — Figure  Studies. 

75.  School  of  Raphael. — Soldiers  Running  with  Ropes. 

76.  Guglielmo  Caccia,  called  II  Moncalvo,  from  a town  where  he  long 
resided  (b.  Montabone,  in  Piedmont,  1568,  d.  1625;  master  unknown; 
successful  at  Milan,  Pavia,  and  elsewhere;  assisted  and  imitated  by  his 
two  daughters; — style  similar  to  Roman  School). — The  Adoration  of 
the  Kings. 

77.  Giovanni  Manozzi  da  S.  Giovanni  (b.  S.  Giovanni,  near  Florence, 
1590,  d.  1636;  pupil  of  Matteo  Roselli  [Florentine,  1578-1650;  deserted 
his  master’s  simple  and  finished  style;  tendency  to  extravagance;  acquired 
a great  reputation;  incredibly  prolific). — The  Flight  into  Egypt — the 
incident  of  the  kind-hearted  robber. 

78.  Benvenuto  Cellini  (sculptor,  medalist;  b.  Florence,  1500,  d.  1570; 
studied  metal-working  under  Marcone,  a goldsmith,  seal-engraving  under 
Lautizio;  also  medal-making  and  enameling;  displayed  from  the  first 
much  originality  and  force;  author  of  treatise  on  sculpture). — Neptune 
in  his  Car. 

79.  Taddeo  Zuccaro  (b  S.  Angelo  in  Vado,  1529,  d.  Rome,  1566;  studied 
with  his  father,  Ottaviano,  and  Pompeo  da  Fano,  and  afterwards  undei 
great  difficulties  at  Rome;  recognized  as  a pleasing  artist;  employed 
there  and  elsewhere; — agreeable  and  intelligible,  but  neither  correct  nor 
consistent;  pictures  merely  collections  of  portraits  with  conventional 
figures  added). — A Royal  Feast. 

80.  Golgio  (?).— Martyrdom. 

81.  Pontormo.  [See  No.  122.] — Building  a City. 

82.  Pietro  Testa,  called  II  Lucchesino,  from  his  birth-place  (painter 
and  engraver;  b.  Lucca,  1617,  drowned  in  the  Tiber,  1650;  probably 
began  study  under  Pietro  Paolini  [Roman,  1603-1681];  afterwards  under 
Domenichino  [see  No.  234]  and  Pietro  da  Cortona  [see  No.  596];  de- 
signed extensively  from  antique  ruins; — very  defective  in  many  details, 
such  as  attitudes  and  chiaroscuro,  but  free  and  firm  in  drawing;  female 
heads  often  very  beautiful).— Joseph  Sold  by  his  Brothers. 

83.  Baggio  Bandinelli  (painter,  sculptor;  b.  1447,  d.  1559;  studied 
sculpture  under  Francesco  Rustic!  [Sienese,  1595-1625] ; turned  to  painting 
in  hope  of  excelling  Michael  Angelo;  good  designer;  noted  for  bass- 
reliefs).— Seated  Satyr,  with  head  of  same  enlarged. 


Catalogue  of  Drawings. 


9 


84.  Antonio  Tempesta.  [See  No.  23.] — The  Flight  into  Egypt;  the 
Rest  in  the  Wheat  Field. 

85.  Antonio  Tempesta.  [See  No.  23.]— Europa  Carried  off. 

86.  Giuliano  Bugiaedini  (b.  Florence,  1471,  d.  1554;  first  studied  under 
Bartoldi,  an  insignificant  sculptor;  then  a comrade  of  Michael  Angelo  in 
the  Medici  Gardens  [see  No.  92];  a successful  imitator  and  portrait-paint- 
er).— A Warrior  Flinging  Himself  Forward. 

87.  Antonio  Tempesta.— Aeneas  and  Achates  Entering  Dido’s 
Palace  in  a Cloud. 

88.  Bernardino  Baebatelli,  or  PoccETTi  (b.  Florence  1548,  d.  1612; 
pupil  of  Michele  di  Ridolfi  [Florentine,  flourished  about  1550] ; painted 
history,  but  most  successful  in  decorative  work;  rich  and  graceful  in 
composition). — Design  for  Ceiling. 

89.  Antonio  Tempesta.  [See  No.  23.] — A Martyrdom  by  Impaling. 

90.  Ceistofano  Alloei,  called  Bronzino,  after  his  great-uncle  Agnolo 
(b.  Florence,  1577,  d.  1621;  pupil  of  his  father  Alessandro  [Florentine, 
1535-1607]  and  of  Santo  di  Titi  [see  No.  128];  original  and  powerful; 
considerably  above  the  average  of  his  time,  but  of  such  vicious  habits 
that  he  painted  little;  good  portraitist). — Female  Head. 

91.  Pietro  Testa.  [See  No.  82.]— Fortune’s  Wheel. 

92.  Michele  Angelo  Buonarrotti  (fresco-painter,  sculptor,  architect, 
poet;  b.  Castel  Caprese,  Tuscany,  1475,  d.  Rome,  1563;  first  studied  under 
Ghirlandajo  [Florentine,  1449-1493],  but  soon  outgrew  him ; 1489,  began 
careful  study  of  antiques  gathered  by  Lorenzo  de’  Medici ; patronized  by 
Lorenzo  till  his  death;  1505,  summoned  to  Rome  by  Julius  I.  to  decorate 
ceiling  of  Sistine  Chapel;  engaged  in  Rome  till  his  death;  a solitary 
giant  in  art-history,  remarkably  precocious,  of  original  and  daring  im- 
agination; unrivalled  in  anatomical  knowledge;  harassed  and  saddened  by 
the  licence,  intrigue  and  injustice  of  his  times;  character  and  imagination 
developed  more  upon  their  gloomier  sides). — Head  for  a Statue. 

93.  Francesco  di  Rossi  di  Salviati  (b.  Florence,  1510,  d.  Rome,  1563; 
fellow-student  of  Vasari  [see  No.  612]  under  Andrea  del  Sarto  [see  No. 
104],  and  Baccio  Bandinelli  [see  No.  83]; — restless  and  quarrelsome;  of 
considerable  fertility,  learning  and  skill;  works  scattered  everywhere  in 
northern  Italy). — Studies  for  Figure  of  Warrior. 

94.  Salvator  Rosa  (after  Raphael). — Figures  at  a Cave. 

95.  School  of  Michael  Angelo.  [See  No.  92.]— Studies  of  Three 
Heads. 

96.  Baccio  Bandinelli.  [See  No.  83.] — Nude  Figure,  Seated. 

97.  Baccio  Bandinelli.  [See  No.  83.]— A Hunter. 


10 


Metropolitan  Museum  of  Art. 


98.  Salvator  Kosa  (after  Raphael).  [See  No.  44.] — Aeneas  Bearing 
his  Father,  Anchises,  from  the  Sack  of  Troy. 

99.  Antonio  Tempbsta.  [See  No.  23.] — Lot  and  his  Daughters. 

100  Antonio  Tempesta. — Two  Female  Figures  with  Angels  above. 

301.  Agnolo  Bronzino  (b.  Florence,  1511,  d.  1580;  pupil  and  imitator  of 
Pontormo  [see  No,  122];  comrade  of  Vasari  [see  No.  612]; — excelled  in 
portraits). — Descent  of  Christ  into  Hades. 

102.  Antonio  Tempesta  — Two  Figures. 

103.  Antonio  Tempesta.  [See  No..  23.]— A Duel. 

104.  Andrea  Yannucchi,  called  del  Sarto,  “the  tailor’s  son”  (b. 
Florence.  1487,  d.  1531;  began  under  a goldsmith  and  engraver  of  little 
repute;  then  a pupil  of  Piero  di  Cosimo  [Florentine,  144T-1521];  learnt 
most  from  works  of  Masaccio  [see  No.  121J,  Ghirlandajo  [Florentine, 
1449-1493],  Leonardo  [see  No.  186],  Michael  Angelo  [see  No.  92],  and 
Raphael  [see  No.  44];  extensively  employed  in  Italy;  1*518,  invited  to 
France,  but  soon  returned;  died  in  poverty  and  despair; — often  called 
‘‘the  Faultless,”  because  with  a marked  command  of  technique  he  unites 
a certain  grace  and  intelligibility  which  are  very  pleasing:  represents  the 
maturity  of  the  Florentine  school  in  beauty  and  perfection  of  work,  but  * 
lacks  earnestness  and  sublimity).  — Landscape. 

105.  Il  Kosso  (painter,  architect;  b.  P'lorence,  1496,  committed  suicide, 
Paris,  1541;  student  of  works  of  del  Sarto  [see  No.  104],  of  Angelo  [see 
No.  92],  and  of  Parmegiano  [see  No.  191];  after  achieving  some  success 
at  Florence,  removed  to  Rome,  whence  in  1527  he  was  driven  to  Vol terra; 
visited  Venice;  finally  settled  in  France;  became  superintendent  of  public 
works  at  Fontainebleau ; killed  himself  through  remorse  for  having  unjust- 
ly suspected  and  prosecuted  a friend  for  robbery; — gifted  and  original ; 
tended  to  too  great  independence,  and  hence  often  passed  from  the  grand 
to  the  extravagant;  extremely  polished  and  cultivated). — Anatomical 
Study  of  the  Human  Figure. 

106  Andrea  DEL  Sarto.  [See  No.  104.]— Landscape. 

107.  Salviati.  [See  No.  93.] — The  Descent  from  the  Cross. 

108.  Federico  Zuccaro  (b.  S.  Angiolo  in  Vado,  1543,  d.  Ancona,  1609; 
studied  under  his  brother  Taddeo  [see  No.  79];  his  assistant  and  successor; 
traveled  throughout  Italy,  France,  Spain,  Flanders  and  England;  painted 
domes  of  church  of  Sta.  Maria  de’  Fiori  at  Florence,  and  of  the  Cappella 
Paolina  at  Rome;— displayed  much  talent,  but  fell  into  extravagances 
and  mannerisms;  in  imitation  of  Vasari  [see  No.  612];  wrote  a treatise 
upon  art,  of  little  value). — Christ  in  the  Garden. 

IG'.v  Unknown.— Interior  of  a Studio. 


Catalogue  of  Drawings. 


11 


110.  Andrea  ded  Sarto.  [See  No.  104.]— Monk  and  Soldier. 

111.  Andrea  ded  Sarto. — Bishop  and  Saint. 

112.  Lorenzo  Ghiberti  (?)  (painter,  sculptor;  b.  Florence.  1378,  d,  about 
1455;  taught  drawing,  modeling,  and  metal-casting  by  step-father  Bar- 
toluccio,  goldsmith;  1398,  driven  from  Florence  by  the  plague  to  Rimini 
where  he  made  some  frescoes;  competed  for  commission  to  make  bronze 
doors  of  Florentine  Baptistery;  Ghiberti,  Brunelleschi  [see  No.  620], 
and  Donatello  [Florentine  sculptor,  1383-1466]  were  adjudged  the  work, 
but  the  two  latter  withdrew;  labored  about  forty  years  upon  the  doors, 
which  have  excited  universal  admiration ; — style  still  somewhat  stiff,  but 
growing  towards  vigor  and  grace. — Groups. 

113.  Lorenzo  Ghiberti  (?).  [See  No.  112.] — Groups. 

114.  115.  Antonio  PollajuoIjO  (sculptor,  painter,  engraver;  b.  Florence, 

1433,  d.  1498;  with  his  brother  Pietro  educated  by  his  father  as  gold- 
smith; studied  modeling  and  casting  under  Ghiberti  [see  No.  112]; 
assisted  upon  famous  Ghiberti  Gates  in  Church  of  S.  Giovanni;  studied 
painting  under  his  brother  Pietro  [1428-1498];  the  Pollajuoli  said  to 
have  been  the  first  Italians  to  practice  human  dissection  for  art  study; — 
strongly  influenced  by  training  in  plasTic  work  and  by  study  of  the 
antique;  the  first  to  use  oil  instead  of  tempera  as  a vehicle). — Nude 
Youths  Leaning  on  Staves. 

116.  Andrea  del  Sarto. — Old  Man  with  Staff. 

117.  Andrea  del  Sarto.  [See  No.  104.]— Man  Seated,  Writing  on 
his  Knee. 

118.  Andrea  del  Sarto. — Youthful  Head. 

119.  School  op  Michael  Angelo.  [See  No.  92.] — Statue  in  Niche. 

120.  School  of  Michael  Angelo.  — Prophet  with  Book. 

121.  Tommaso  da  S.  Giovanni,  called  II  Masaccio,  “the  dirty  fellow” 
(b.  Val  d’Arno,  near  Florence,  1402,  d.  about  1440;  name  taken  from 
his  slovenly  habits;  studied  under  Masolino  da  Panicale  [Florentine, 
1378-1415]  and  Brunelleschi  [see  No.  620],  from  works  of  Ghiberti  [see 
No.  1 1 2]  and  Donatello  [Florentine,  1383-1466],  and  from  antiques  at 
Rome; — began  a revolt  against  rigidity  and  conventionality,  seeking 
greater  naturalness,  more  skillfully  chosen  attitudes,  and  better  reasoned 
draperies;  called  one  of  the  Fathers  of  Painting,  both  for  his  distinct 
advance  upon  previous  styles  and  because  many  of  his  successors,  par- 
ticularly Raphael,  formed  their  styles  by  studying  his). — Ecce  Homo  I 
— the  Dead  Christ  Supported  by  two  Cherubs. 


12 


Metropolitan  Museum  of  Art, 


122.  Jacopo  Caerucci  da  Pontormo  (b.  Pontormo,  1493,  d.  1558;  pupil 
> of  Leonardo  [see  No.  186],  Piero  di  Cosimo  [Florentine,  1441-1521],  M. 

Albertinelli  [Florentine,  1475-1520],  and  Andrea  del  Sarto  [see  No.  104], 
the  latter  of  whom  he  assisted ; — good  portrait-painter,  but  late  in  life 
undertook  to  imitate  Diirer  [see  No.  479],  and  in  consequence  his  most 
extended  work,  a series  of  frescoes,  upon  which  he  labored  eleven  years, 
was  a complete  failure,  and  was  subsequently  destroyed). — Vestal 
Virgin  with  Jar  of  Sacred  Fire  in  her  Lap. 

123.  Benvenuto  Cellini.  [See  No.  78.] — A Vase. 

124.  Pontormo.  [See  No.  122.] — Female  Figure  Looking  Upward. 

125.  School  of  Michael  Angelo.  [See  No.  92.]— The  Crucifixion. 

126.  School  OF  Michael  Angelo. — Prophetic  Figure. 

127.  Unknown,  (late). — Historical  Scene. 

128.  Santo  di  Titi  (painter,  architect;  b.  Citta  S.  Sepolcro,  1538,  d.  1603; 
pupil  of  Agnolo  Bronzino  [see  No.  loi],  Cellini  [see  No.  78],  and  Ban- 
dinelli  [see  No.  83];  employed  at  Rome  and  Florence;  conscientious  and 
graceful,  but  without  special  originality  or  depth;  “freshness  and  health” 
of  his  faces  remarked  by  Lanzi). — Child’s  Head. 

129.  Michael  Angelo.  [See  No.  92.] — Heads  of  Four  Demons. 

130.  Cavaliere  Giovanni  Paolo  Pannini  (b.  Piacenza,  1691,  d.  about 
1764;  early  went  to  Rome;  studied  under  Pietro  Lucatelli  [Roman 
1660-1741],  landscape  painter;  devoted  himself  to  ruins  of  ancient  build- 
ings in  Rome;  correct  and  graceful  in  design  and  execution). — A Group 
of  Ruins. 

131.  Unknown  (i6th  Century). — The  Virgin  and  Child,  with  two 
Saints  Kneeling. 

132.  Baccio  della  Porta,  called  Fra  Bartolommeo  (b.  Florence, 
1476-7,  d.  1517;  began  under  Piero  di  Cosimo  [Florentine,  1441-1521], 
but  derived  certain  characteristics  from  Flemish  masters  and  from 
Leonardo  [see  No.  186];  admirer  of  Savonarola,  and  in  1500,  after  his 
death,  a Dominican,  whence  his  common  name;  1509-17,  partner  of  his 
early  comrade,  Albertinelli  [Florentine,  1475-1520];— upheld  the  then 
new  method  of  oil-painting;  the  best  colorist  of  his  school;  exquisitely 
graceful,  dignified  and  well-balanced,  but  limited  in  imagination  and 
feeling).— Woman  and  Child  Kneeling. 

133.  Andrea  del  Sarto.  [See  No.  104.] — Landscape. 

134.  Fra  Bartolommeo.  [See  No.  132.] — The  Virgin  and  Child. 

135.  Fra  Bartolommeo.  [See  No.  132.] — The  Holy  Family. 

186.  Michael  Angelo.  [See  No.  92.] — Man  Seated  on  the  Ground 
and  Looking  Upward. 


Catalogue  of  Drawings. 


13 


137.  Francesco  ZuccARELiii (b.  Pitigliano,  1702,  d.  Florence,  1788;  studied 
successively  under  Paolo  Anesi  [Florentine,  flourished  about  1720], 
Morandi  [Florentine,  1622-1717],  and  Pietro  Nelli(?);  began  with  history, 
but  soon  changed  to  landscape,  for  which  he  had  much  natural  talent; 
1752-73,  in  England;  one  of  original  members  of  the  Royal  Academy; 
returning  to  Italy,  lost  all  his  savings;  thus  obliged  to  resume  work  in 
old  age;  name  means  little  pumpkin,”  hence  pictures  often  marked  with 
a pumpkin). — Landscape. 

138.  Pontormo.  [See  No.  122.]— The  Expulsion  from  Eden. 

139.  Federico  ZuccARO.  [See  No.  108.]— Christ  in  the  Garden. 

140.  School  of  Kaphael. — Figures. 

141.  Komanino. — The  Last  Supper. 

142.  Unknown  (late). — The  Virgin  Enthroned. 

143.  Antonio  Tempesta.  [See  No.  23.] — Horses. 

144.  Unknown  — Soldier  About  to  Stab  a Woman. 

145.  Bald ASSARE  Peruzzi  DA  Siena  (painter  and  architect;  b.  Accaiano, 
near  Siena,  1481,  j>oisoned,  Rome,  1536;  taught  by  unknown  master;  at 
Rome  the  intimate  friend  of  Raphael  [see  No.  44];  probably  his  comrade 
as  pupil  of  Bramante  [Roman  architect,  about  1450-15 14];  of  very  high 
rank;  modesty  prevented  acquisition  of  just  reputation  during  life-time; 
excellent  architect;  always  hampered  by  poverty;  poisoned  by  a rival). — 
Roman  Triumph. 

146.  PocETTi.  [See  No.  88.] — The  Muse  of  History. 

147.  Bald  ASSARE  Peruzzi. — The  Prophecy  of  the  Tiburtine  Sibyl. 

148.  Unknown  (Sienese  School). — Historical  Scene. 

149.  Unknown. — Two  Saints  in  Adoration. 

150.  Lorenzo  Costa  (b.  Ferrara,  d.  1530;  pupil  of  Francesco  Francia 
[Bolognese,  1450-1517],  whose  style  he  copied). — Adoration  of  the 
Madonna. 

151.  Federico  Baroccio.  [See  No.  153.] — A Votive  Madonna. 

152.  Unknown  (Modenese  School). — Legendary  Scene. 

153.  Federico  Baroccio  (painter,  engraver;  b.  Urbino,  1528,  d.  1612; 
sculptor’s  son;  studied  with  Battista  Veneziana;  when  20  years  old,  to 
Rome,  under  patronage  of  Cardinal  della  Rovere;  returned  to  Urbino 
four  years  later;  afterwards  paid  second  visit  to  Rome,  executing  several 
notable  works; — elegant  and  graceful,  resembling  Correggio  [see  No.  215], 

but  somewhat  affected). — Woman  in  Adoration. 

154.  Federico  Baroccio. — Subject  Doubtful. 


14 


Metropolitan  Museum  of  Art. 


155.  Giovanni  Paolo  Eosetti  (b.  Volterra;  flourished  about  1568;  nephew 
of  Daniele  de  Volterra  [see  No.  57],  with  whom  he  studied;  good  histori- 
cal painter). — Aphrodite. 

156.  Federico  Baeoccio.  [See  No.  153.] — The  Annunciation. 

157.  Federico  Baroccio.  — The  Madonna  and  Child. 

158.  Federico  Baroccio. — Studies  of  Heads. 

159.  Unknown  (probably  Sienese). — Martyrdom. 

160.  G.  P.  Eosetti  (?).  [See  No.  155.] — The  Madonna  Surrounded  by 
Saints. 

161.  Unknown. — Angels  Carrying  St.  Catharine  to  Mount  Sinai. 

162.  Francesco  Vanni.  [See  No.  170.]— The  Annunciation. 

163.  Camliere  Francesco  Vanni.— Head  of  a Man  Asleep. 

164.  Unknown  (Ferrarese  School).— Figures. 

165.  Domenico  Beccafumi,  called  Micarino  (painter,  sculptor,  engraver; 
b.  Siena,  1484,  d.  1549;  tended  sheep  as  a boy;  receiving  some  instruction 
at  hom^,  sent  to  Rome  to  study  master-pieces  there;  returning,  acquired 
high  fame;  he  designed  the  mosaic  pavement  of  Cathedral  of  Siena).— 

Study  of  Drapery. 

166.  Gavaliere  Francesco  Vanni.  [See  No.  170.]— The  Marriage  of 
St.  Catharine. 

167.  Domenico  Beccafumi.  [See  No.  165.]— Study  of  Drapery. 

168.  Unknown  (perhaps  Vanni)  [See  No.  170.] — Figure  Holding  Picture 
of  the  Madonna  and  Child. 

169.  Domenico  Beccafumi. — Roman  Galleys. 

170.  Francesco  Vanni  (b.  Siena,  1565,  d.  1610;  to  Rome  when 
16  years  old;  studied  under  Giovanni  de  Vecchi  [Roman,  1536  1614]; 
designed  from  the  antique  and  from  works  of  great  masters;  especially 
imitated  Baroccio  [see  No.  153];  returned  to  Siena,  visited  Lombardy, 
studied  at  Parma;  was  employed  both  at  Rome  and  Siena;  though  a close 
follower  of  Baroccio’s  general  style,  surpassed  him  in  the  accuracy  and 
spirit  of  many  details). — St.  Agatha,  with  the  Shears  and  Palm. 

171.  Domenico  Beccafumi. — Festal  Procession. 

172.  Domenico  Beccafumi.— Festal  Procession. 

173.  Federico  Baroccio.  [See  No.  153.] — Coronation  of  the  Virgin. 

.174.  Unknown  (possibly  Vanni  [see  No.  70]). — St.  Agnes. 

175.  Il  Sodoma.  [See  No.  179.]— Chorus  of  Maidens. 


Catalogue  of  Drawings. 


15 


176.  Unknown.— Study  of  Drapery. 

177.  Unknown  (Ferrarese  School.) — Forging  Armor. 

178.  Fedeeico  Baeoccio. — Meeting  of  Mary  and  Elisabeth. 

179.  Camliere  Giovanni  Antonio  Eazzi,  called  II  Sodoma,  probably 
by  an  error  of  copying  for  II  Sodona  (b.  Vercelli,  in  Piedmont,  about 
1479,  d.  1554;  after  study  at  home,  formed  style  by  examining  Leonardo’s 
works  [see  No.  186];  worked  in  the  Vatican;  pictures  there  destroyed 
to  make  room  for  Raphael;  best  works  at  Siena; — style  similar  to  Leonar- 
do’s, but  of  inferior  dignity  and  power. — Martyrdom  of  St.  Sebas- 
tian. 

180.  Unknown. — Miniature  Portrait. 

181.  Fedeeico  Baeoccio. — The  Annunciation. 

182.  PlETEO  Damini  (b.  Castelfranco,  1592,  d.  1631;  aroused  high  expecta- 
tions by  early  work,  but  died  without  becoming  great;  style  elegant,  but 
changeable). — Three  Saints  in  Adoration. 

183.  Domenico  Beccaeumi. — Festal  Procession. 

184.  Domenico  Beccaeumi.— Festal  Procession. 

185.  Gaudenzio  Feeeaei,  (b.  Valdugia,  in  the  Milanese,  1484,  d.  1550; 
pupil  of  Perugino  [see  No.  197],  Stefano  Scotto  [Milanese,  flourished 
about  1600],  and  Luini  [see  No.  227];  learned  most  from  Leonardo’s 
works  [see  No.  186],  and  from  assisting  Raphael  at  Rome; — original  in 
choice  of  attitudes,  superior  to  his  school  in  design  and  color. — The 
Entombment. 

186.  Leonaedo  da  Yinci  (?)  (painter,  architect,  engineer,  physicist,  musician, 
poet;  b.  Vinci,  on  the  Arno,  1452,  d.  Paris,  1519;  pupil  of  Andrea 
Verrochio  [Florentine,  1432-1488];  displayed  extraordinary  abilities  from 
youth;  1494,  invited  to  Milan  by  the  Duke,  and  employed  successively 
as  architect,  engineer  and  painter;  1500,  driven  by  defeat  of  his  patron 
by  the  French  to  Florence;  there  engaged  in  a memorable  rivalry  with 
Michael  Angelo  [see  No.  92];  1513,  visited  Rome;  invited  thence  to 
France,  where  he  died; — inimitable  in  combination  of  grandeur  and 
strength  of  conception  with  accurate  delicacy  of  handling;  a great  master 
in  expression  of  thought  and  character). — A Head. 

187.  Leonaedo,  DA  Vinci(?).  [See  No.  186.]  — Studies  of  Woman  with 
Candle,  and  of  a Head. 

188.  School  oe  Andeea  Mantegna.  [See  No.  189.] — Judith  with  the 
Head  of  Holefernes. 


16 


Metropolitan  Museum  of  Art. 


189.  Camliere  Andrea  Mantegna  (painter,  engraver;  b,  near  Padua, 
1431,  d.  Mantua,  1306;  drover’s  son;  noticed,  instructed  and  adopted  by 
Francesco  Squarcione  [Paduan,  1394-1474];  first  public  work  in  17th 
year;  carefully  studied  antiques  collected  by  Squarcione,  neglecting  nature; 
afterwards  strove  to  supply  this  deficiency;  best  works  at  Mantua). — 
Design  for  one  compartment  of  the  Triumph  of  Julius  Caesar. 
(The  Triumph  of  Caesar  was  a series  of  nine  pictures  originally  painted 
for  the  Palazzo  di  San  Sebastiano  at  Mantua;  their  great  excellence  gained 
Andrea  the  honor  of  knighthood ; they  were  carried  off  at  the  sack  of  the 
city  by  the  Germans,  subsequently  brought  to  England,  and  are  now 
lodged  at  Hampton  Court  in  a very  dilapidated  condition), 

190.  Andrea  Mantegna. — Roman  Scene. 

191.  Girolamo  Francesco  Maria  Mazzola,  or  Mazzuoli,  called  Id 
Parmegiano  or  Parmegianino  (b.  Parma,  1503,  d.  Casalmaggiore, 
1540;  educated  by  uncles  Michele  and  Filippo;  early  work  entirely  after 
Correggio  [see  No.  215];  when  20  years  old,  to  Rome  for  study;  driven 
to  Bologna  by  sack  of  1527;  thence  to  Parma;  died  of  disappointment 
occasioned  by  financial  difficulties  growing  out  of  his  excessive  taste  for 
alchemy; — graceful  and  lovely  in  the  extreme;  sacrificed  everything  to 
obtain  charming  expression  in  grouping,  outline,  color  and  detail). — La 
Pieta. 

192.  Pellegro  PlOLA  (b.  Genoa,  1617,  murdered,  1640;  master  not  known; 
resembles  Ludovico  Caracci  [see  No.  249];  probably  killed  by  a rival). 

— Vulcan  Giving  Arrows  to  Cupid. 

193.  Id  Parmegiano.  [See  No.  191.]— Skirmish. 

194.  Il  Parmegiano. — Group  of  Three  Figures. 

195.  ErmenigUjDO  Lodi  (flourished  about  1615 ; prominent  pupil  of  Cavaliere 
G.  B.  Trotti  [Cremonese,  1555-after  1607]).— Prison  Scene. 

196.  Il  Parmegiano. — Madonna  and  Child  Enthroned. 

197.  Pietro  Vannucci,  called  Perugino  (b.  near  Perugia,  1446,  d.  1524; 
being  very  poor,  probably  studied  at  Perugia  with  Benedetto  Bontigli 
Perugian,  1420-after  1500];  invited  to  Rome  to  work  in  Sistine  Chapel;— 
somewhat  stiff  and  conventional,  yet  presaging  the  greater  freedom  of 
later  times). — Heads  of  Two  Saints. 

198.  Donato  Creti  (b.  Cremona,  1671,  d.  Bologna,  1749;  studied  under 
Lorenzo  Passinelli  [Bolognese,  1629-1700];— imitated  Simone  Cantarini 
[Pesaro,  1612-1648];  without  originality;  coloring  harsh;  suffered  for 
thirty-six  years  from  insomnia). — Endymion. 

Pietro  Perugino.  [See  No.  197.]— Angels. 


199. 


Catalogue  of  Drawings. 


17 


200,  201,  202,  203,  204,  205,  206,  208.  Conte  Giorgio  Durante  (b.  Brescia, 
1683,  d.  1755; — famous  for  accurate  and  tasteful  representations  of 
flowers  and  animals), — Birds. 

207.  Conte  Giorgio  Durante. — Mouse. 

209.  Alessandro  Bonvicino,  called II  Moretto,  “the  tawny”  (b.  Brescia, 
1514  (?),  d.  1564;  taught  by  Titian  [see  No.  339],  whom  he  imitated  in 
many  respects; — heads  very  graceful;  devotional  attitudes  good;  coloring 

fresh). — St.  Margaret  and  the  Dragon. 

210.  Unknown. — Building  with  Tower. 

211.  Luca  Oambiaso  (b.  Genoa,  1527,  d.  Madrid,  1585;  pupil  of  his  father, 
Giovanni  [Genoese,  1495-?];  studied  assiduously  at  Florence  and  Rome; 
1583,  invited  to  Spain  to  work  upon  the  Escurial; — very  rapid,  but 
correct;  versatile,  spirited,  pleasing). — Christ  Bound. 

212.  Luca  Cambiaso. — Mother  and  Children, 

213.  Unknown  (school  of  Parma). — The  Virgin  and  Child,  with  St. 
Anna. 

214.  Giovanni  Benedetto  Castiglione  (painter,  engraver;  b.  Genoa, 
1616,  d.  1670;  pupil  of  G.  B.  Paggi  [Genoese,  1554-1629]  and  of 
Giovanni  Andrea  de  Ferrari  [Genoese  1598-1669];  traveled  and  painted 
throughout  Italy;  attempted  various  classes  of  subjects,  but  most  famous 
for  rural  scenes  and  for  animals;  picturesque,  accurate  and  spirited. 
— Studies  of  Animals’  Heads. 

215.  Antonio  Allegri  da  Correggio  (b.  Correggio,  near  Modena,  1494,  d. 
1534;  probably  had  little  instruction,  yet  rapidly  attained  skill  and  power; 
traveled  very  little,  probably  never  in  Rome; — grand  and  beautiful;  the 
first  master  of  foreshortening;  chiaroscuro  and  coloring  excellent;  design 
broad  and  noble). — The  Nativity. 

216.  Il  Parmegiano.  [See  No.  191.] — Medea  (?)  [or  Circe  (.?)]. 

217.  Correggio  (?).— Four  Cherubs. 

‘218.  Unknown  (school  of  Parma). — Rustic  Scene. 

219.  Il  Moretto.  [See  No.  209.] — The  Madonna  and  Child  Enthroned, 
with  St.  Agatha  and  Lucia. 

220.  Unknown. — Madonna  and  Child  Enthroned. 

221.  Unknown.— A Miracle. 

222.  Unknown.— Girl  with  a Book. 


18 


Metropolitan  Museum  of  Art. 


223.  Elisabetta  Sikani  (b.  Bologna,  1638,  poisoned,  1664;  taught  by 
father,  Giovanni  Andrea  Sirani  [Bolognese,  1610-1670];  imitated  Guido 
Reni  [see  No.  314]  with  success;  left  many  large  works  all  carefully 
finished; — refined  and  accurate  in  design,  elegant  in  color;  like  Guido, 
most  successful  with  Madonnas  and  Magdalens). — The  Holy  Family. 

224.  Unknown.— Mother  and  Child. 

225.  Unknown. — Group  of  Women. 

226.  School  op  Luini.  [See  No.  227.] — The  Scourging  of  Christ. 

227.  Bernardino  Luini  (?)  (b.  Luino,  near  Lago  Maggiore,  about  1460,  d. 
after  1530;  remarkably  close  imitator,  and  probably  pupil  of  Leonardo 
[see  No.  186];  immense  confusion  from  similarity  of  their  styles). — A 

Feast,  perhaps  the  Marriage  at  Cana. 

228.  School  of  Correggio.  [See  No.  215.]— The  Holy  Family. 

229.  Unknown.  (School  of  Raphael  ?). — Figures. 

230.  Correggio.  [See  No.  215.]  - The  Adoration  of  the  Shepherds. 

231.  Unknown. — Figure  Studies.  [A.  Pollajuolo  (?) — The  Infant 
Hercules  and  the  Serpent  (?)]. 

232.  Correggio. — Boys’  Dancing. 

233.  Domenichino.  [See  No.  234.]— Cherubs. 

234.  Domenico  Zampieri,  called  Domenichino  [b.  Bologna,  1581,  d. 
1641;  studied  with  success  at  school  of  the  Caracci  [see  Nos.  249,25c, 
263],  with  Albani  [see  No.  307];  traveled  for  study;  finally  to  Rome; 
there  assisted  Annibale  Caracci  [see  No.  250],  besides  undertaking  com- 
missions; driven  from  Rome  to  Bologna  by  hatred  of  rivals,  especially  of 
Lanfranco  [see  No.  17];  again  invited  to  Rome  and  extensively  em- 
ployed;— admirable  landscapist;  in  expression  of  character  second  only  to 
Raphael  [see  No.  44];  in  all  respects  great). — St.  Peter  released  from 
Prison. 

235.  Unknown. — The  Madonna  and  Child. 

236.  School  of  Domenichino.  [See  No.  234.]— Andromache,  Priam 
and  the  Body  of  Hector. 

237.  Domenichino. — Mythological  Scene. 

238.  Unknown. — Cain  and  Abel. 

239.  Bernardino  Luini.  [See  No.  227.]— The  Scourging  of  Christ. 

240.  Bartolommeo  Ramenghi  da  Bagnacavallo  (b.  Bagnacavallo,  1484; 
d.  1542;  pupil  of  Francia  [Bolognese,  1450-1517]  and  probably  of  Raph- 
ael [see  No.  44];  perhaps  assisted  the  latter;  works  admired  by  the 
Caracci). — St.  Catharine. 


Catalogue  of  Drawings. 


19 


24L  Domenichino.  [See  No.  234,] — Christ  before  Pilate. 

242.  Unknown. — Scene  from  Sacred  History. 

243.  Unknown. — The  Holy  Family,  Attended  by  Angels. 

244.  Domenichino.— Landscape. 

245.  Domenichino. — A Martyrdom  (?). 

246.  Annibale  Cabacci.  [See  No.  250.] — Landscape. 

247.  Annibale  Cabacci.— Landscape. 

248.  Annibale  Cabacci. — Saint  in  Ecstasy. 

249.  Ludovico  Cabacci  (b.  Bologna,  1555,  d.  1619;  educated  in  school  of 
Prospero  Fontano;  [Bolognese,'  1512-1597J;  developed  very  slowly, 
through  desire  to  avoid  being  satisfied  with  mere  dexterity  and  pleasing- 
ness; indefatigable  student  of  nature,  and  of  great  masters  at  Venice, 
Florence  and  Parma;  founded  and  directed  famous  academy  of  painting 
at  Bologna,  in  opposition  to  the  prevalent  careless  manner  of  the  time; 
inaugurated  a new  epoch  of  truthful  and  reflecting  work;  excellencies 
not  obvious  to  chance  observer;  they  comprise  simplicity,  harmony, 
dignity  and  deep  rationality). — Subject  doubtful. 

250.  Annibale  Cabacci,  (b.  Bologna  1560,  d.  1609;  brother  of  Agostino 
[see  No.  263],  cousin  of  Ludovico  [see  No.  249];  carefully  trained  by 
the  latter;  studied  works  of  all  the  great  masters,  especially  those  of 
Correggio  [see  No.  215];  invited  to  decorate  Gallery  of  Farnese  Palace 
at  Rome;  spent  eight  years  there; — active  imagination,  great  energy, 
consummate  mastery  of  technic,  strong  tendency  to  the  grandiose,  com- 
bined with  lack  of  mental  refinement  and  knowledge  resulting  from  dislike 
for  literary  study). — Figure  of  a Man,  from  behind.  (Drawn  on 
translucent  paper;  on  the  reverse  the  front  of  the  same  figure  is  drawn 
by  following  the  lines  of  the  back,  so  that  both  aspects  of  the  figure  in 
the  given  position  are  rendered). 

251.  Ludovico  Cabacci  (?). — Horsemen. 

252.  Ludovico  Cabacci  (?). — Death  of  Polyxena  (?). 

253.  Annibale  Cabacci. — Facade. 

254.  School  of  the  Cabaccis. — Figures. 

255.  School  of  the  Cabaccis, — Figure  Studies. 

256.  Ludovico  Cabacci. — Reception  of  Queen  of  Sheba  by  Solomon. 

257.  Ludovico  Cabacci. — Figure  Studies. 

258.  Annibale  Cabacci. — La  Pieta. 

259.  School  of  the  Cabaccis. — Death  of  Lucretia  (?). 


20 


Metropolitan  Museum  of  Art. 


260  Annibale  Caeacci. — Aurora  and  Tithonus. 

261.  Annibale  Caeacci. — Landscape. 

262.  Michele  Angelo  Colonna.  [See  No.  270.]— Decorative  Group. 

263.  Agostino  Caeacci  (painter,  engraver;  b.  Bologna,  1558,  d.  Parma, 
1601;  goldsmith;  persuaded  by  cousin  Ludovico  [see  No.  249]  to  try 
painting;  studied  under  Fontana  [Bolognese,  1512-1597]  and  Passerotti 
[Bolognese,  1540-1595];  also  at  Parma  and  Venice  with  brother  Annibale 
[see  No.  250];  assisted  Ludovico  at  Bologna  and  Annibale  at  Rome; 
although  his  literary  culture  was  invaluable  to  latter’s  work,  yet  they 
soon  separated,  Agostino  settling  in  Parma; — excellent  engraver;  emi- 
nently an  artist  in  all  he  undertook). — Study  of  Nude  Male  Figure 
from  behind. 

264.  Pellegeino  Tibaldi  (painter,  architect ; b.  Bologna,  1527,  d.  Milan, 
1591;  pupil  of  Bagnacavallo  [see  No.  240];  student  of  Vasari’s  works  [see 
No.  612]  and  Michael  Angelo’s  [see  No.  92];  extensively  employed  at 
Rome  by  Cardinal  Poggi;  invited  to  Spain  in  1586;  succeeded  Federico 
Zuccaro  [see  No.  108]  at  the  Escurial; — diligent  student  of  nature). — 
Figure  Study. 

235.  Agostino  Caeacci.  [See  No.  263.] — St.  Sebastian  (?). 

266.  School  of  the  Caeaccis. — Landscape. 

267.  School  of  the  Caeaccis. — Antony  Giving  the  Library  of  Per- 
gamus  to  Cleopatra. 

268.  Pellegeino  Tibaldi.  [See  No.  264.]— Historical  Scene.  (Solo- 
mon’s Judgment  between  the  two  Women?). 

269.  Unknown.— Ruins. 

270.  Michele  Angelo  Colonna  (b.  near  Ravenna.  1600,  d.  1687;  pupil  of 
Gabrielle  Ferrantino  [Bolognese,  flourished  about  1590]  and  of  II  Den- 
tone  [Bolognese,  1576-1632];  assisted  the  latter;  invited  to  Madrid  by 
Philip  IV). — Angels  in  the  Clouds.— A Ceiling  Design. 

271.  Pellegeino  Tibaldi.— Figure  Study. 

272.  Pellegeino  Tibaldi.— Study  of  a Nude  Figure. 

273.  School  of  the  Caeaccis.— Figures. 

274.  Pellegeino  Tibaldi  — Subject  Doubtful. 

275.  School  of  the  Caeaccis.— Figures. 

276.  Michele  Angelo  Colonna. — Allegorical  Figure  -with  Wreath. 

277.  Michele  Angelo  Colonna. — Historical  Scene. 

278.  Buonsignoei  (?).— Lot  and  His  Daughters. 


Catalogue  of  Drawings. 


21 


279.  Guercino.  [See  No.  280.]  — Death  of  a Saint. 

280.  Giovanni  Francesco  Barbieri,  called  Guercino,  “squint-eye”  (b. 
Cento,  near  Ferrara,  1593,  d.  1666;  began  very  young;  had  little  in- 
struction; probably  studied  works  of  Ludovico  Caracci  [see  No.  249]; 
—had  three  styles;  first  imitated  harsh  contrasts  of  M.  A.  Caravaggio 
[see  No.  324],  then,  after  visiting  Bologna,  Venice,  Rome,  displayed 
great  beauty  of  color  and  mastery  of  foreshortening,  chiaroscuro,  and 
relief,  though  without  corresponding  power  and  grace  of  conception; 
finally,  after  Guido  Reni’s  death  [see  No.  314],  in  seeking  to  imitate  his 
sweetness,  lapsed  into  weakness). — Man  and  Child. 

281.  Unknown  (sixteenth  Century). — A Burial. 

282.  Guercino.  [See  No.  280.]— Woman  and  Child. 

283.  Pellegrino  Tibaldi.  [See  No.  264.] — Study  of  a Female  Figure. 

284.  Pellegrino  Tibaldi. — Figure  Study. 

285.  Giovanni  da  Bologna  (sculptor,  b.  Douals,  France,  1524,  d.  1605; 
early  settled  in  Italy;  imitated  Michael  Angelo  [see  No.  92]). — St. 
Sebastian 

283.  Guercino. — Man  Writing. 

287.  Giovanni  da  Bologna. — Figure  Studies. 

288.  Pellegrino  Tibaldi. — Sisyphus  and  Tantalus. 

289.  Guercino.  —Landscape. 

290.  Michele  Angelo  Colonna.  [See  No.  270.]— Studies  of  Angels 
on  Clouds, 

291.  Carlo  Cignani  (b.  Bologna,  1628,  d.  Forli,  1719;  began  with  Battista 
Cairo;  then  principal  pupil  of  Albani  [see  No.  307];  studied  also  at 
Rome,  Florence  and  Parma;  founded  Clementine  Academy  at  Bologna; 
excited  much  jealousy  and  mean  hostility;  occupied  nearly  twenty  years 
on  dome  at  Forli; — in  conception  far  readier  than  in  execution ; successful 
in  blended  coloring,  in  relief,  and  in  grace  of  female  figures). — Madonna 
and  Child. 

292.  Guercino. — Landscape, 

293.  Carlo  Cignani. — Cardinal  with  Crucifix. 

294.  Guercino. — Three  Children’s  Heads, 

295.  Guercino. — Peter  Denying  Christ. 

296.  Guercino. — Man  Stabbing  Himself. 

297.  Carlo  Cignani. —Man  and  Boys. 

298.  Guercino. — Caricatures. 


22 


Metropolitan  Museum  of  Art. 


299.  Giovanni  da  Bologna.  [See  No.  285.]— Figure  Studies. 

300.  Guekcino. — Studies  of  Man  Reclining, 

301.  Giovanni  da  Bologna. — Two  Men  Struggling. 

302.  Francesco  Peimaticcio  (b.  Bologna,  1490,  d.  Paris,  1570;  studied 
under  Imocenzo  da  Imola  [Bolognese,  about  1490-about  1550],  Bagnaca- 
vallo  [see  No.  240],  and  Giulio  Romano  [see  No.  4];  assisted  the  latter 
on  Palace  at  Mantua;  invited  to  France  to  decorate  Palace  of  Fontaine- 
bleau; succeeded  II  Rosso  [see  No.  105]  there;  projected  and  executed  an 
immense  series  of  paintings,  destroyed  in  1738; — able  and  showy,  but 
bombastic). — Birds 

303.  Unknown. — Study  for  Statue  of  Reclining  Figure. 

304.  Francesco  Primaticcio.— Wand-Dance. 

305.  Fratta(?). — Historical  Scene. 

306.  Fratta(?). — Brigands. 

307.  Francesco  Albani  (b.  Bologna,  1578,  d.  1666;  first  under  Denis  Cal- 
vert [Bolognese,  1555-1619],  then  with  Guido  Reni  [see  No.  314]  under 
Ludovico  Caracci  [see  No.  249];  assisted  Annibale  Caracci  [see  No.  250] 
at  Rome;  gained  high  reputation;  employed  at  various  places; — sometimes 
called  the  Anacreon  of  painting,  from  choice  of  subjects;  style  soft  and 
pleasing). — Figures,  with  Horse  and  Sheep. 

308.  Francesco  Primaticcio. — Subject  Uncertain. 

309.  Francesco  Albani. — Decorative  Group  of  Children. 

310.  Francesco  Albani. — The  Toilet  of  Venus. 

311.  Stefano  della  Belea.  [See  No.  312.] — Horseman. 

312.  Stefano  della  Bella  (engraver;  b.  Florence,  1610,  d.  1664;  gold- 
smith’s son;  taught  by  Cantagallina  [Bolognese,  1582 — about  1630], 
who  was  also  the  master  of  Callot  [see  No.  519]; — admirable  engraver, 
clear,  picturesque,  spirited;  accomplishes  much  with  little). — Study  of 
Horses. 

313.  Guido  B-eni.  [See  No.  314.] — The  Madonna  and  Child. 

314.  Guido  Beni  (b.  Bologna^  i575j  d.  1642;  musician’s  son;  pupil  first  of 
Dennis  Calvart  [Bolognese,  1555-1619],  and  then  at  school  of  the 
Caracci  [see  Nos.  249,  250,  263],  becoming  favorite  scholar  of  Ludovico; 
set  himself  to  overcome  popular  taste  for  bizarre  works  of  M.  A,  Cara- 
vaggio [see  No,  324];  obtained  reputation;  invited  to  Rome  with  Albani 
[see  No.  307] ; at  first  favorably  received,  but  soon  ai'oused  animosity  of 
artists  by  repeated  success,  returned  to  Bologna;  recalled  thence  to  Rome 
by  the  Pope;  after  executing  many  great  works,  settled  finally  at  Bologna, 
where  his  gaming  propensities  led  him  to  sell  poor  work  to  raise  money ; 


Catalogue  of  Drawings. 


23 


— the  artist  of  the  charming,  in  outline,  color,  expression;  heads,  espe- 
cially of  women,  have  inimitable  delicacy;  depicted  suffering  or  fear 
without  sacrificing  beauty). — Venus  and  Adonis, 

315.  Stefano  della  Bella.— Historical  Scene. 

316.  Stefano  della  Bella. — Study  of  Horses. 

317.  Stefano  della  Bella. — Study  of  Horses. 

318.  Stefano  della  Bella. — Study  of  Horses. 

319.  Stefano  della  Bella. — Study  of  Horses. 

320.  Guido  Beni. — Historical  Scene. 

321.  Guido  Keni. — Ecce  Homo. 

322.  Serafino  Beizzi  (b.  Bologna,  1684,  d.  1737;  eminent  painter  of 
court  festivals). — A Martyrdom. 

323.  Fedele  Fischetti  (?).— Historical  Scene. 

324.  Michele  Amerigi  Angelo  da  Caravaggio  (b.  Caravaggio,  in  the 
Milanese,  1569,  d.  Rome,  1609;  mason’s  son;  thus  brought  in  contact 
with  fresco  painters;  inspired  to  study  nature  by  himself;  style  formed 
without  instruction;  visited  Venice  and  studied  Giorgione  [see  No.  420J; 
settled  in  Rome;  inaugurated  new  and  very  popular  style; — extremely 
realistic  in  expression;  lights  and  shades  distributed  in  extraordinary 
manner;  very  able,  but  extravagant  and  ungraceful). — Youth  Reading. 

325.  Guido  Beni. — Cupid. 

326.  Guido  Beni. — The  Crucifixion. 

327.  Guido  Beni. — Figure  Studies. 

328.  Guido  Beni. — Group. 

329.  Guido  Beni. — Children  Playing. 

330.  Francesco  Primaticcio. — Design  for  Frieze. 

331.  Guido  Beni — The  Madonna  and  Child. 

332.  Ubaldo  Gandolfi  (b.  Bologna,  1728,  d.  1781;  pupil  of  F.  Torelli 
[Veronese,  1667-1748],  Graziani  [Bolognese,  1688-1765],  and  E.  Lelli 
[Bolognese,  about  1700-1766]; — distinguished  for  academical  designs). — 

Study  of  Nude  Figure. 

333.  Giovanni  Battista  Discepoli,  called  II  Zoppo  di  Lugano  “the 
cripple  of  Lugano,”  (b.  Lugano,  1590,  d.  1660;  pupil  of  Camillo 
Procaccini  [Bolognese,  1546-1626]; — good  colorist). — Joseph  Sold  by 
his  Brothers. 


24 


Metropolitan  Museum  of  Art. 


334.  Josef  Ribera,  called  Lo  Spagnoletto,  “the  fine  little  Spaniard” 
(b.  Xativa,  Spain,  15S9,  d.  Naples,  1656;  studied  first  under  Francisco 
Ribalta  [Spanish,  1551-1628],  then  in  Naples  under  M.  A.  Caravaggio 
[see  No.  224];  also  at  Parma  and  Rome; — imitated  Caravaggio’s  bold 
style;  chose  harsh,  terrible  or  disagreeable  subjects,  which  were  delineated 
with  extreme  fidelity;  good  portrait-painter). — Dying  Saint. 

335.  Ubaldo  Gandoefi. — Study  of  Nude  Figure. 

336.  School  of  Lo  Spagnoletto.  [See  No.  334.]— In  the  Garden  of 
Gethsemane. 

337.  Lo  Spagnoletto. — Death  of  a Saint. 

338.  Lo  Spagnoletto. — Study  of  a Man’s  Head. 

339.  Lo  Spagnoletto. — St.  John  Chrysostom. 

340.  Lo  Spagnoletto. — Lion  and  Slave. 

341.  Salvator  Rosa.  [See  No.  342.] — Death  of  Regulus* 

342.  Salvator  Rosa  (painter,  poet,  actor;  b.  near  Naples,  1615,  d.  Rome,. 
1673;  taught  by  T.  Francazone,  his  brother-in-law,  by  Lanfranco  [see 
No.  17],  v/ho  generously  assisted  his  poverty,  by  A.  Falcone  [Neapolitan, 
1600-1665],  and  by  Lo  Spagnoletto  [see  No.  334]; — facile  and  original; 
as  a landscapist,  chose  deserts  and  .gloomy  solitudes;  good  portrait- 
painter). — Landscape. 

343.  Salvator  Rosa. — Landscape,  with  Tower. 

344.  Lo  Spagnoletto.  [See  No.  334.]— Death  of  St.  Jerome. 

345.  Salvator  Rosa.— Subject  Doubtful. 

346.  Lo  Spagnoletto. — Figures. 

347.  Salvator  Rosa.— Mercury  and  Argus. 

348.  Salvator  Rosa.— Man  with  Jug. 

349.  School  of  Salvator  Rosa. — Landscape. 

350.  Salvator  Rosa.— Landscape. 

351.  Salvator  Rosa. — The  Sacrifice  of  Isaac. 

352.  Salvator  Rosa.— Torture  of  a Prisoner. 

353.  Salvator  Rosa. — Study  of  an  Actor. 

354.  Unknown. — Cavalry  Charge. 

355.  Salvator  Rosa.— Landscape. 

356.  Salvator  Rosa. — Landscape. 

357.  Salvator  Rosa. — A Pirate’s  Camp.  (Signed,  1673% 


Catalogue  of  Drawings. 


25 


358.  Salvator  Rosa.— Cavalry  Battle. 

359.  School  op  Salvator  Rosa. — Rustic  Scene. 

360.  Salvator  Rosa.— Study  of  Cattle. 

361.  Salvator  Rosa. — Trees  and  Rocks. 

362.  Salvator  Rosa.— Landscape. 

363.  Tiepolo.  [See  No.  365.]— Design  for  Ceiling. 

364.  Unknown. — Pope  Alexander  III,  and  the  Emperor  Frederick 
Barbarossa. 

365.  Giovanni  Battista  Tiepolo  (b.  Venice,  1693,  d.  Madrid,  1770;  pupil 
of  Lazzarini  [Venetian,  1654-1730];  first  imitated  G.  B.  Piazetta [Venetian, 
1682-1754];  then  studied  Paul  Veronese  [see  No.  393]; — extravagant, 
impetuous,  ready;  most  successful  in  very  extended  work). — Subject 
doubtful. 

366.  Tiepolo.  [See  No.  365.]— Angels. 

367.  Tiepolo.  [See  No.  365.]— Prison  Scene. 

368.  Tiepolo.— Head  of  a Saint. 

369.  Tiepolo.— Figures. 

370.  Tiepolo. — Designs  for  Ceilings. 

371.  Tiepolo— Group. 

372.  Tiepolo. — Designs  for  Ceilings. 

373.  Paolo  Cagliari,  called  Paolo  Veronese  (b.  Verona,  1532,  d.  1588; 
sculptor’s  son;  studied  with  uncle  Antonio  Badile  [Veronese,  1480-1560]; 
early  famous  at  home;  successful  in  competition  at  Venice; — liked  scenes 
of  regal  luxury  where  magnificence  of  costume  and  accessories  was  dis- 
played; elegant  colorist). — The  Sword  of  Damocles. 

374.  Titian  or  his  School. — Child  Surrounded  by  Figures. 

375.  Paolo  Veronese. — A Music  Lesson. 

376.  Paolo  Veronese. — Studies  of  Heads. 

377.  School  OF  Titian, — Two  Figures. 

378.  Paolo  Veronese. — Washing  Christ’s  Feet. 

379.  Unknown.— An  Angel. 

380.  Paolo  Veronese. — The  Finding  of  Moses. 

381.  Paolo  Veronese  (?). — An  Execution. 

383.  Unknown. — The  Sacrifice  of  Abel. 

383.  Paolo  Veronese. — Martyrdom  of  a Saint. 


26 


Metropolitan  Museum  of  Art. 


384.  Carlo  Veronese  (?). — Bacchanals. 

385.  Domenico  Campagnola  (painter,  engraver;  flourished  at  Venice  1520- 
1540;  pupil  of  Titian  [see  No.  393]: — surpassed  him  in  some  points; 
excelled  in  delineation  of  the  nude  and  in  landscape). — Landscape, 
looking  Seaward. 

386.  Unknown. — The  Madonna  and  Child  Adored  by  Two  Saints. 

387.  Titian.  [See  No.  393.]— Landscape. 

388.  Titian. — The  Entombment  of  Christ. 

389.  Titian.— Woodland  Scene. 

390.  Giulio  Carpioni  (b.  Venice,  1611,  d.  1674;  pupil  of  II  Paduanino 
[Venetian,  1590-1650],  follower  of  Paul  Veronese  [see  No.  373]: — excelled 
in  historical  scenes,  in  bacchanals  and  in  small  sacred  subjects). — The 
Coronation  of  the  Virgin. 

391.  Titian. — Landscape. 

392.  Titian. — Landscape. 

393.  Tiziano  Vecelli  da  Cadore  (b,  Cadore,  1477,  d.  Venice,  1576;  taught 
by  Sebastiano  Zuccati  [Venetian,  flourished  about  1490],  Gentile  Bellini 
[Venetian,  1421-1501]  and  Giovanni  Bellini  [Venetian,  1422-1512];  first 
developed  under  influence  of  Giorgione  [see  No.  420],  whom  he  succeeded ; 
early  popular  in  Italy  and  Spain; — the  prince  of  colorists;  not  remarkable 
in  design  or  drawing;  excellent  portrait-painter  and  landscapist). — Man 
and  Woman. 

394.  Unknown  (after  Titian).— Landscape. 

395.  Titian.— Figures 

396.  School  of  Titian.— Martyr  Bound  to  the  Stake. 

397.  Titian.— Portrait. 

398.  School  of  Titian.— Studies  of  Man  in  Toga. 

399.  School  of  Titian. — Saint  Adoring  the  Madonna  and  Child. 

400.  School  of  Titian. — Landscape. 

401.  Titian.— Saint  Reading. 

402.  Jacopo  Palma,  called  II  Vecchio,  ‘‘the  Elder”  (b.  Serinalta,  1480, 
d.  1528;  study  of  Giorgione’s  works  [see  No.  420]  released  him  from 
stiffness  of  Giovanni  Bellini[Venetian,  1422-1512],  and  gave  something 
of  Titian’s  richness  of  color; — attended  more  to  finish  than  to  design). 
— Symbolic  Figure  with  Spear  and  Helmet. 

403.  Titian. — Trees. 

404.  Palma  II  Vecchio.— Symbolic  Figures. 


Catalogue  of  Drawings. 


27 


405.  Unknown.  (Tintoretti?). — Figure. 

406.  School  of  Titian  —Sleeping  Figures. 

407.  Palma  II  Vecchio. — Juno  (?). 

408.  School  of  Titian. — The  Holy  Family. 

409.  Palma  II  Vecchio. — Bishop  and  Two  Saints. 

410.  Niccola  Geaffi  (?). — Victims  of  the  Plague. 

411.  Palma  II  Vecchio. — Death  of  a Saint. 

412.  Giacomo  Eobusti,  called  II  Tintoketto,  the  little  dyer,”  (b.  Venice, 
1512,  d.  1594;  pupil  of  Titian  [see  No.  393]  for  a short  time;  founded 
an  academy  and  endeavored  to  inaugurate  a new  style,  combining  color- 
ing of  Venetians  with  grand  design  of  Florentines;  extraordinarily  versatile 
and  rapid;  even  extravagant  and  careless;  original  and  powerful). 
— The  Scourging  of  Christ. 

413.  Il  Tintoeetto. — Historical  Scene. 

414.  Il  Tintoeetto.— Susanna  and  the  Elders. 

415.  Il  Tintoeetto. — Angels  and  Cherubs. 

416.  Il  Tintoeetto. — Study  for  Ex-Voto  Picture. 

417.  Il  Tintoeetto.— Monk  Reading. 

418.  Il  Tintoeetto. — Washing  Christ’s  Feet. 

419.  Il  Tintoeetto. — Raising  of  Jairus’ Daughter. 

420.  Gioegio-  Baebaeelli,  called  Gioegione,  “the  big  George”  (b. 
Castelfranco,  1477,  d.  1511;  pupil  of  Giovanni  Bellini  [Venetian,  1422- 
1512];  comrade  of  Titian  [see  No.  393];  studied  Leonardo’s  works  [see 
186]; — the  first  to  abandon  the  strict  style  of  Bellini  for  free  and  bold 
design  and  rich  color;  dignified,  broad,  harmonious,  first-rate  portrait- 
painter). — River  View. 

421.  Il  Tintoeetto. — Mary  Magdalene  and  Christ. 

422.  Il  Tintoeetto. — Bishop  with  Book. 

423.  Il  Tintoeetto. — Christ  Bearing  the  Cross. 

424.  Unknown.— Adoration  of  the  Magi. 

425.  Il  Tintoeetto. — The  Writing  on  the  Wall. 

426.  POLIDOEO,  called  Veneziano  (b.  Venice,  1515,  d.  1565;  full  name  un- 
known; pupil  and  imitator  of  Titian  [see  No.  393J; — of  moderate  ability). 

— Soldiers  Carrying  Urns. 


427.  Il  Tintoeetto. — The  Sacrifice  of  Noah. 


28 


Metropolitan  Museum  of  Art. 


428.  Andrea  Schiavone,  called  Id  Meduda,  “ the  faulty  ” (b.  Sebenico, 
Dalmatia,  1522,  d,  Venice,  1582;  hampered  by  poverty;  practiced  alone 
from  prints  of  Parmegiano  [see  No.  191],  and  worked  as  house-painter; 
attracted  Titian’s  notice  [see  No.  393]  and  was  taken  into  his  school; 
became  an  assistant  of  Titian; — very  deficient  in  drawing,  but  an  excel- 
lent colorist). — The  Garden  of  Eden. 

429.  PoDiDORO.  [See  No.  426.] — Roman  Procession. 

430.  Giorgione.  [See  No.  420.] — Landscape. 

431.  PoDiDORO. — Roman  Galleys. 

432.  Jacopo  Padma,  called  Id  Giovane,  “the  Younger”  (b.  Venice,  1544, 
d.  1628;  educated  himself  from  works  of  Tintoretto  and  Titian  [see  No. 
393];  attracted  notice  of  wealthy  noble;  sent  by  him  to  Rome;  returning 
to  Venice  became  very  popular  and  famous; — ready  and  daring,  often 
incorrect;  coloring  fresh  and  tender). — St.  Jerome. 

433.  Gasparo  Diziani  (b.  Belluno,  d.  1667;  studied  with  Sebastiano  Ricci 
[Venetian,  1659-1734],  famous  for  theatrical  pictures  and  decorations; 
extensively  employed  in  Germany  and  Italy). — Design  for  Altar-Piece. 

434.  Padma  Id  Giovane. — St.  Anthony. 

435.  437,  438,  439,  440,  441,  443.  Lucas  Jacobs,  called  Lucas  van 

Leyden  (?),  (painter,  engraver;  b.  Leyden,  1494,  d.  1533;  son  of 
obscure  painter;  taught  by  his  father  and  by  C.  Engelbrechtsen  [Dutch, 
1468-1533];  remarkably  precocious;  intimate  friend  of  Durer  [see  No. 
479]; — called  the  “patriarch”  of  the  Dutch  school;  adhered  to  the  stiff. 
Gothic  style;  eminent  in  composition  and  color;  very  distinguished  en- 
graver, ranking  with  Dilrer  and  Raimondi  [see  No.  30]). — The  Story 
of  Queen  Esther,  in  seven  scenes. 

436.  Francesco  Guardi  (b.  Venice,  1712,  d.  1793;  pupil  of  Canaletto 
[Venetian,  1697-1768];  painter  of  architectural  views  in  Venice; — sur- 
passed his  master). — Venetian  Scene. 

442.  Paud  Brid  (b.  Antwerp,  1554,  d.  Rome,  1626;  began  with  an  obscure 
artist,  but  soon  set  out  for  Rome  to  study  under  his  brother  Matthew 
[Dutch-Ttalian,  1550-1584];  succeeded  him  at  the  Vatican;  studied 
Titian’s  landscapes  [see  No.  393])- — Landscape. 

444.  Unknown. — Portrait. 

445. — Rembrandt  Gerretz,  called  van  Rhyn  (painter,  engraver;  b.  near 

Leyden,  1606,  d.  Amsterdam,  1674;  pupil  of  Jacob  van  Zwaanenberg; 
1630,  settled  in  Amsterdam;  indefatigable  student  of  peasants,  servants, 
and  the  lower  classes  everywhere; — the  master  of  chiaroscuro;  faithful 
in  design,  harmonious  in  color,  vivacious,  forcible;  a first-rate  portrait- 
painter  and  engraver). — Landscape  and  Tower. 


Catalogue  of  Drawings. 


29 


446.  Fbancis  Pourbus,  called  the  Younger  (b.  Antwerp,  1570,  d.  Paris, 
1622;  son  of  F.  Pourbus,  the  Elder  [Flemish,  1540-1680];  started  for 
Italy,  but  settled  in  Paris  on  the  way,  and  became  a prominent  portrait- 
painter).  — Portrait. 

447.  Unknown.— Cattle.-  - , 

448.  Rembrandt  van  Rhyn.  [See  No.  445.]— Buildings. 

449.  Rembrandt  van  Rhitn. — Wayside  Inn. 

450.  Rembrandt  van  Rhyn. — Adoration  of  the  Magi. 

451.  Rembrandt  van  Rhyn. — Buildings. 

452.  Rembrandt  van  Rhyn. — Man  Writing. 

453.  Rembrandt  van  Rhyn. — Two  Men. 

454.  Rembrandt  van  Rhyn. — Figure  of  a Man. 

455.  Rembrandt  van  Rhyn. — Interior.  • 

456.  Sir  Anthony  Vandyck  (b.  Antwerp,  1599,  d.  Blackfriars,  London, 
1641 ; son  of  a painter  on  glass;  pupil  of  Henry  van  Balen  [Flemish,  1560- 
1632]  and  of  Rubens  [see  No.  465];  advised  by  the  latter  to  keep  solely 
to  portraiture;  in  1619,  visited  Venice,  Genoa,  Rome,  Palermo ; disturbed 
by  hostility  at  home,  went  to  England  in  1629  and  again  in  1631 ; knight- 
ed in  1632;  became  immediately  popular; — charming  and  well  balanced 
in  composition  and  color;  one  of  the  best  of  portrait-painters;  very  rapid 
in  execution). — Selene  and  Endymion. 

457.  Vandyck.  [See  No.  456.  J — The  Madonna  and  Child,  with  Cherubs. 

458.  Vandyck. — The  Madonna  and  Child  Surrounded  by  Cherubs. 

459.  Unknown, — Cavalry. 

460.  Vandyck. — Saint  in  Ecstasy. 

461.  Unknown.— A Fight. 

462  Vandyck.— Mary  and  the  Dead  Christ. 

463.  Unknown. — Historical  Scene. 

464,  Jacob  Ruysdael  (b.  Haarlem,  1630,  d.  1681 ; learned  without  a master; 
encouraged  by  Berghem  [Dutch,  1624-1683] ; devoted  himself  to  scenery 
near  Haarlem  and  on  the  Rhine; — designed  from  nature  with  great 
success). — River  Scene. 

465  Peter  Paul  Rubens  (b.  Cologne,  1577,  d.  1640;  pupil  of  Tobias  Ver- 
haecht  [Dutch,  1566-1631],  Adam  van  Oort  [Dutch,  1557-1641].  and 
Otho  Venius  [Dutch,  1 556-1634]  ; received  also  a good  general  education ; 
visited  Italy  for  study ; became  attached  to  court  of  Mantua;  1605,  sent 
as  envoy  to  Spain;  1608,  returned  to  Antwerp;  established  school  of 


30  Metropolitan  Museum  of  Art. 

painting;  1620-30,  traveled  in  France,  Spain  and  England  as  artist  and 
embassador; — very  prolific,  magnificent  and  varied;  brilliant  colorist; 
bold  and  vigorous  designer). — Study  of  Dogs, 

466.  Rubens. — Man  and  Woman. 

467.  Anton  Fbans  Boudewyns  (about  1700).— Peasants. 

468.  Rubens. — Portrait  of  Himself. 

469.  Adrian  VAN  Ostade  (painter,  engraver;  b.  Lubeck,  1610,  d.  Amsterdam, 
1685;  a pupil  of  Francis  Hals  [Dutch,  1584-1666]; — represented  scenes 
in  low  life  with  great  truth  and  force). — The  Itinerant  Fiddler.  (Signed 
and  dated  1673), 

470.  Unknown. — A Martyrdom. 

471.  Rubens. — Figures. 

472.  David  Teniers,  called  the  Younger  (b.  Antwerp,  i6ro,  d.  Brussels, 
1694;  studied  with  his  father  [see  No.  474],  Adrian  Brower  [Dutch, 
1608-1640],  and  Rubens  [see  No.  465];  court-painter  to  Archduke 
Leopold ; — like  his  father,  worked  upon  rural  themes,  but  with  far  greater 
spirit  and  skill;  a wonderful  imitator). — Studies  of  Peasants. 

473.  Unknown.  (Flemish  School). — Decorative  Group. 

474.  David  Teniers,  called  the  Elder  (b.  Antwerp,  1582,  d.  1649; 
studied  under  Rubens  [see  No.  465]  and  at  Rome  under  Elsheimer 
[German-Italian,  1574-1620]; — inclined  to  humorous  subjects;  un- 
fortunately overshadowed  by  his  son). — Scenes  at  a Fair. 

475.  David  Teniers,  called  the  Elder. — Subject  Doubtful. 

476.  David  Teniers,  called  the  Elder. — Scenes  at  a Fair. 

477.  Martin  de  Yoo.— Adoration  of  the  Magi. 

478.  Unknown. — The  Death  of  Socrates. 

479.  Albrecht  Durer  (painter,  engraver;  b.  Nuremburg,  1471,  d.  1528; 
goldsmith’s  son ; taught  by  Wohlgemuth  [German,  1434-1519]; — hamp- 
ered by  ^conventional  style  of  his  time  and  country,  but  made  great 
advances  upon  his  predecessors  in  composition,  design  and  coloring; 
preeminent  in  technique  of  engraving). — A Head. 

480.  Unknown. — Subject  Doubtful. 

481.  Unknown.— River  Landscape. 

482.  Jonas  Umbach,  THE  Younger  (?). — A Large  Building.  (Signed  and 
dated  1747). 

483.  Albrecht  Durer- — Study  for  Engraving  of  the  Knight. 


Catalogue  of  Drawings. 


31 


484.  Johann  Georg  Wagner  (b.  Dresden,  1732,  d.  1767;  pupil  of  Dietrich 
[German,  1712-1774] a charming  landscapist). — Cascade. 

485.  Lucas  Sunder,  called  Lucas  Cranach  (painter,  engraver ; b.  Cranach 
1470,  d.  1553;  court-painter  of  Saxony; — adhered  to  the  stiff  style 
prevalent  before  Durer’s  reformation  [see  No.  479])  — Christ  Proclaimed 
King. 

486.  Martin  Schoen  or  Schoengauer  (painter,  engraver;  lived  in  the  15th 
century ; his  biography  is  in  dispute; — one  of  the  earliest  engravers  on 
copper). — Historical  Scene. 

487.  Domenico  Teoscopoli,  called  id  Greco  (b.  Greece,  1548,  d.  Madrid, 
1625  ; a close  follower  of  Titian  [see  No.  393];  without  much  originality). 
— Man  Kneeling. 

488.  Bartolome  Esteban  Murillo  (b.  Seville,  i6i8,  d.  1685;  studied 
under  Juan-del  Castillo  [Spanish,  1584-1640],  and  under  Velasquez  [see 
No.  498];  never  left  Spain,  but  by  studying  at  Madrid  and  by  observation,  * 
developed  a refined  and  original  style  having  both  naturalness  and 
beauty).  — Figures. 

489.  Murillo.  [See  No.  488.]— Coronation  of  a Saint. 

490.  Murillo. — Studies  for  a Madonna. 

491.  School  of  Murillo. — The  Madonna  and  Child. 

492.  School  of  Murillo. — Child  and  Angel. 

493.  Murillo. — Death  of  a Saint. 

494.  Murillo. — A Saint,  with  Angels. 

495.  Unknown. — The  Madonna,  Child,  and  St.  John. 

496.  Claudio  Coello  (b.  Madrid,  d.  1693;  pupil  of  Rizi  [Spanish,  1608- 
1685];  careful  student  of  Italian  works;  never  left  Spain,  but  became 
very  famous  there). — A Baptism. 

497.  Francisco  Pacheco  (painter  author;  b.  Seville,  1571,  d.  1654; 
studied  under  Luis  F'ernandez  [Spanish,  1594-1654];  head  of  an  excellent 
academy;  censor  of  pictures  under  the  Inquisition; — learned  rather  than 
talented). — A Martyrdom. 

498.  Don  Diego  Velasquez  de  Silva  (b.  Seville,  1599,  1660;  taught  by 

Francisco  Herrera  [Spanish,  1576-1656]  and  by  Pacheco  [see  No.  497]; 
1622,  to  Madrid;  after  painting  the  King’s  portrait,  became  court-painter; 
1629,  to  Italy  for  study;  again  in  1648,  in  pursuit  of  collections  for  the 
King;— the  best  of  Spanish  painters;  peculiarly  prosperous  throughout 
his  life).  — Portrait. 

499.  Velasquez.  [See  No.  498.] — Cavalry  Battle. 


32 


Metropolitan  Museum  of  Art. 


500.  Velasquez. — Figure  of  a Girl. 

501.  Velasquez. — Figures. 

502.  Velasquez. — Man  Praying. 

503.  Velasquez. — Curtius  Riding  into  the  Chasm. 

504.  Velasquez. — The  Infanta  on  Horseback. 

505.  Unknown. — Monk  with  Angel  and  Picture. 

506.  Velasquez. — Mother  and  Baby. 

507.  Francisco  Zurbaran  (b.  near  Seville,  1598,  d.  1662;  pupil  of  Juan  de 
las  Roelas  [Spanish,  1560-1625];  called  the  Caravaggio  of  Spain  [see 
No.  324];  court-painter; — particularly  successful  as  painter  of  monks;  in 
the  first  rank  of  the  Spanish  school). — A Death-Scene. 

508.  Jacopo  Cortese,  called  II  Borgognone  “the  Burgundian”  (b.  St. 
Hippolyte,  1621,  d.  Rome,  1676;  son  of  obscure  artist;  entered  the  army 
and  sketched  army  scenes;  1639,  to  Bologna  and  Rome; — a great  battle- 
painter,  spirited  and  masterly). — Cavalry  Battle. 

509.  Il  Borgognone.  [See  No.  508.]— Cavalry  Charge. 

510.  Il  Borgognone. — A Soldier. 

511.  Il  Borgognone — Horsemen  Fighting. 

512.  Francisco  Zurbaran.  [See  No.  507.]— St.  Adrian.  (Signed.) 

513.  Francisco  Zurbaran. — Composition  for  Altar-Piece. 

514.  Pierre  Subleyras  (b.  Uses,  1699,  d.  Rome,  1749;  taught  by  his  father, 
by  Antoine  Rivalz  [French,  1667-1735]  and  at  the  academy;  1726,  Grand 
Prize ; went  to  Rome,  becoming  eminent  in  portraiture ; — escaped  the  false 
tendencies  of  the  time;  possessed  great  fidelity  and  naturalness). — Mary 
and  Elisabeth. 

515.  Fran(JOIS  Boucher  (painter,  engraver;  b.  Paris,  1704,  d.  1768;  pupil 
of  Fran9ois  le  Moine  [French,  1688-1737];  very  popular;  masterly  only 
in  execution). — Cupids. 

516.  School  op  Boucher.  [See  No.  515.] — Allegorical  Composition. 

517.  Unknown. — Woodland  Landscape. 

518.  Callot.  [See  No,  519.] — Horsemen  and  Archer. 

519.  Jacques  Callot  (engraver;  b.  Nancy,  1593,  d,  1635 ; early  in  Italy ; pupil  of 
Cantagallina  [Florentine,  1530— about  1630],  Giulio  Parigi  [Florentine, 
d.  1635],  and  P.  Thomassin  [French-Roman,  1536— after  1613] ;— very 
spirited  and  original;  his  small  drawings  are  much  admired). — Fencers. 


520.  Callot. — Figures. 


Catalogue  of  Drawings. 


33 


521.  Callot. — Athletes, 

522.  Antoine  Watteau  (b.  Valenciennes,  1684,  d.  1721;  long  unable  to 
have  a master;  finally  befriended  by  a humble  engraver;  tried  historical 
painting;  studied  at  the  Academy;  developed  an  original  style; — chose 
social,  pastoral  and  military  subjects,  giving  each  a peculiar  piquancy 
and  character). — Cottage  and  Garden. 

523.  Francois  Boucher.  [See  No.  515.]— The  Fall  of  Phaeton. 

524.  Antoine  Watteau.  [See  No.  522.] — Rural  Cottage. 

525.  Antoine  Watteau. — Lady  and  Children. 

526.  Antoine  Watteau. — Domestic  Scene. 

527.  Nicholas  Poussin  (b.  Audely,  1594,  d.  Rome,  1665;  well  educated  by 
his  father;  pupil  of  Quintin  V&rin;  1612,  to  Paris,  but  found  no  desirable 
teacher;  1624,  to  Rome;  after  much  hardship,  gained  recognition;  1639, 
returned;  1642,  escaped  from  quarrels  of  the  court  to  Rome;  remained 
there  till  his  death; — represented  poetical  subjects  with  success;  his  con- 
stant study  of  the  antique  led  to  simplicity  and  distinctness). — Man’s 
Head. 

528.  Callot.  [See  No.  519.]— Soldiers. 

529.  Callot. — Woman  and  Child. 

530.  Callot.— The  Rape  of  the  Sabines(?). 

631.  Callot. — Figures. 

532.  Callot.— Study  of  a Horse. 

533.  Callot. — Study  of  a Horse. 

534.  Callot.— Horse’s  Head. 

535.  Callot. — Cavalry  Skirmish. 

536.  Callot.— A Boar-Hunt. 

537.  Callot. — Caricature  of  a Spaniard. 

538.  Callot. — Horsemen  and  Dogs. 

539.  Callot. — Soldiers  and  Prisoner. 

540.  Marie  Louise  Elisabette  LeBrun  (b.  1755,  d.  1842;  pupil  of 
Davesne,  Briard  [French,  d.  1777],  and  Jos.  Vernet  [French,  1714-1789]; 
traveled  throughout  Europe ; painted  portraits,  semi-allegorical  subjects, 
and  landscapes). — Portrait  of  a Lady. 

541.  Jean  Jouvenet  (b.  Rouen,  1644,  d.  1717;  instructed  by  his  father  and 
by  Poussin  [see  No.  527];  1665,  academician;  very  popular;  losing  use 
of  his  right  hand,  continued  with  left). — Historical  Scene. 


34 


Mltropolitan  Museum  of  Art. 


542.  FRAN901S  Clouet  Janet  (b.  Tours,  1500,  d.  Paris,  1574;  pupil  of  his 
father  and  of  Holbein;  court-painter  and  valet  to  several  Kings,  from 
1541  to  1574). — A Girl’s  Head. 

543.  Jean  Michel  Moreau  (engraver;  b.  Paris,  1741,  d.  1814;  1781, 
academician;  employed  as  illustrator). — Rustic  Scene. 

544.  Eustace  Le  Sueur  (b.  Paris,  1617,  d.  1655;  sculptor’s  son;  pupil  of 
Vouet  [French,  1582-1641];  an  imitato^  of  Raphael  [see  No.  44];  1640, 
academician; — simple  and  strong,  but  very  unequal). — Healing"  the 
Sick. 

545.  Jean  Michel  Moreau.  [See  No.  543.]— Rustic  Scene. 

546.  Claude  Gtelee,  called  Claude  Lorraine  (b.  Chamagne,  1600,  d. 
Rome,  1682;  very  poor  in  youth;  early  to  Rome  and  Naples;  pupil  of 
Godfrey  Waal  at  Naples  and  of  Agostino  Tassi  at  Rome  [Roman  1566- 
1542];  traveled  in  northern  Italy  and  France:  suffered  repeated  disasters; 
reputation  finally  established; — careful  student  of  nature;  one  of  the 
great  landscapists). — Landscape,  with  Ruined  Tower. 

547.  Nicholas  Poussin.  [See  No.  527.]— Sacrificial  Procession. 

548.  Claude  Lorraine.  [See  No.  546,]— House  and  Trees. 

549.  Claude  Lorraine.— Studies  of  Trees. 

550.  Claude  Lorraine. — Harbor  Scene. 

551.  Claude  Lorraine. — Coast  Scene. 

552.  Claude  Lorraine.— Studies  of  Trees. 

553.  Jean  Baptiste  Greuze  (b.  Tournus,  1726,  d.  Paris,  1805;  pupil  of 
Grandon;  painted  fancy  subjects,  particularly  heads  of  young  girls; — 
coloring  exquisite). — Christ  Carrying  the  Cross. 

554.  Nicholas  Poussin.  [See  No.  527.]— Historical  Scene. 

555.  Claude  Lorraine. — River  Scene. 

556.  Daniele  da  Yolterra.  [See  No.  57. J —Wall  and  Ceiling  Deco- 
ration. 

557.  Roman  School  (17th  Century).— Court-Yard. 

558.  Daniele  da  Yolterra. — Wall  and  Cei  ing  Decoration 

559.  Cherubino  Alberti  (painter,  engraver;  b.  Borgo  S.  Sepolcro,  1552, 
d.  Rome,  1615;  pupil  of  his  father  Michele  [Roman,  b.  1527];  historical 
painter — an  excellent  engraver). — Ceiling. 

560.  Giacomone  da  Faenza  (Faenzese,  flourished  about  1530;  pupil  of  his 
father;  follower  of  Raphael  [see  No.  44]).— Vase. 

561.  Daniele  da  Yolterra. — Details. 


Catalogue  of  Drawings. 


35 


562.  Roman  School  (i6th  Century). — Ceiling  Decoration. 

563.  Daniele  da  Voltehra. — Frieze,  and  Section  of  Wall. 

564.  Roman  School  (16th  Century).— Niche. 

565.  Daniele  da  Volterra. — Frieze,  and  Section  of  a Wall. 

566.  Daniele  da  Volterra, — Frieze. 

567.  Daniele  DA  Volterra. — Frieze. 

568.  Daniele  da  Volterra. — Frieze. 

569.  Gamliere  G.  P.  Pannini.  [See  No.  130.] — Ruins  at  Rome. 

570.  Roman  School  (16th  Century). — Wall  Decoration. 

571.  Roman  School  (i6th  or  17th  Century).— Facade. 

572.  Unknown. — Porte  Cochere. 

573.  Cherubino  Alberti.  [See  No.  559.]— An  Etruscan  Antique. 

574.  Unknown. — Wall  Decoration. 

575.  Roman  School  (i6th  Century). — Ceiling. 

576.  Giovanni  da  Udine  (b.  Udine,  1489,  d.  Rome,  1561 ; pupil  of  Giorgione 
[see  No.  420]  and  Raphael  [see  No.  44];  assisted  the  latter  upon  acces- 
sories; famous  for  arabesques  and  grotesques  and  for  perfect  imitations 
of  animals  and  furniture). — Details. 

577.  Andrea  Pozzo.  [See  No.  10.] — Ceiling. 

578.  Giovanni  DA  Udine. — Details. 

579.  Roman  School  (i6th  Century). — Wall,  with  Statues. 

580.  Daniele  da  Volterra. — Details. 

581.  Roman  School  (17th  Century). — Armor. 

582.  Roman  School  (17th  Century). — Arched  Gateway. 

583.  Roman  School  (17th  Century). — Tablet. 

584.  Giovanni  DA  Udine. — Wall  Decoration. 

585.  Cherubino  Alberti.  [See  No.  559.]— Arch  of  Constantine. 

586.  Giovanni  DA  Udine. — Wall  Decoration. 

587.  Giovanni  DA  Udine. — Wall  Decoration. 

588.  Roman  School  (i6th  Century). — Frieze. 

589.  Roman  School  (i6th  Centu  y).— Archery. 

590.  Michael  Angelo. — Details. 

591.  Michael  Angelo. — Fagade. 


36 


Metropolitan  Museum  of  Art. 


592.  Florentine  School  (i6th  Century).— Spandrel,  and  Details. 

603.  School  of  Michael  Angelo. — Wall  Decoration. 

694.  School  of  Michael  Angelo. — Ceiling. 

695.  Michael  Angelo. — Stairway  and  Corridor. 

696.  Pietro  Berretini  da  Cortona  (painter,  architect;  b.  Cortona,  1596, 
d.  Rome,  1669;  studied  at  Rome;  worked  at  Florence  and  Venice; — most 
successful  in  ceiling-decorations;  composition  elaborate  and  splendid, 
but  often  incorrect  in  details). — Frieze. 

597.  Pietro  da  Cortona. — Ceiling  Decoration. 

598.  Pietro  da  Cortona.— Corner  of  Ceiling. 

599.  Michael  Angelo. — Details. 

600.  Michael  Angelo. — Details. 

601.  Michael  Angelo. — Details. 

602.  School  of  Michael  Angelo. — Niche. 

603.  Florentine  School  (i6th  Century).— Spandrel,  and  Details. 

604.  Pietro  da  Cortona. — Frieze. 

605.  Florentine  School  (i6th  Century). — Spandrel,  and  Details. 

606.  School  of  Michael  Angelo.— Niche. 

607.  608,  609.  Jacopo  Tatti,  called  Sansovino  (sculptor,  architect;  b. 

Florence,  1479,  d.  1570;  pupil  of  Andrea  Contuccio  [Florentine,  1460- 
1529],  Giulio  Sangallo  [1443-1517],  comrade  of  Andrea  del  Sarto  [see 
No  104];  employed  at  Florence  and  Rome;  1527,  driven  to  Venice; 
visited  France;  architect  of  the  Library  of  St.  Mark,  at  Venice;  author  of 
a work  on  floor-construction). — Studies  of  Entablature  and  Balus- 
trade. 

610.  Salviati.  [See  No.  83.] — Niche. 

611.  Antonio  Sangallo  (architect;  b.  Mugello,  near  Florence,  1482,  d. 
Terni,  1546;  pupil  of  his  uncle  Giulio  [1443-15 17]  and  Antonio  [about 
14601534],  and  of  Bramante  [1450-1514];  in  1536,  became  architect  of 
St.  Peter’s;  was  extensively  employed). — Wall  Decoration. 

612.  Giorgio  Vasari,  (painter,  architect,  author;  b.  Arezzo,  1512,  d.  1574-6; 
taught  by  Michael  Angelo  [see  No.  92],  Andrea  del  Sarto  [see  No.  104], 
II  Rosso  [see  No.  113];  studied  at  Rome;  1544,  went  to  Naples;  architect 
of  Palazzo  Uffizi,  Florence;  first  great  historian  of  painting;— as  an  artist, 
too  hasty  and  ambitious). — Fa9ade. 

613. 


Antonio  Sangallo. — Details. 


Catalogue  of  Drawings. 


37 


614.  Antonio  Sanoallo. — Archways  and  Balcony. 

615.  Antonio  Sangallo. — Ornament. 

616.  Antonio  Sangallo.— Elevation  and  Section  of  Building. 

617.  Florentine  School  (i6th  Century).— Piazza,  with  Obelisk. 

618.  Sebastiano  Serlio  (architect,  author;  b.  Bologna,  1475,  d.  Fontaine- 
bleau, 1552;  pupil  of  Peruzzi  [see  No.  145];  student  of  Vitruvius  and  of 
ancient  remains;  traveled  throughout  Italy;  1541,  architect  of  Fontaine- 
bleau; wrote  very  learned  treatise  on  the  five  orders). — Elevation  of 
House. 

619.  Unknown. — Facade  of  Building. 

620.  Filippo  Brunelleschi  (?)  (architect;  b.  Florence,  1377,  d.  1444;  the 
first  to  revive  the  theory  of  perspective  and  to  employ  the  three  Grecian 
orders;  began  the  Renaissance  of  architecture). — Studies  for  External 
Walls. 

621.  Giovanni  Battista  Bracelli  (painter,  engraver;  b.  Genoa,  d.  1609; 
pupil  of  G.  B.  Paggi  [Genoese,  1554-1627J;  historical  painter). — Com- 
position of  Archways  and  Stairs. 

622.  Sansovino.  [See  No,  607.] — Court-Yards. 

623.  Mauro  Tesi  (b.  Modenese  State,  1730,  d.  Bologna,  1766;  with  little 
instruction,  became  eminent  as  painter  of  architecture). — Facade  and 
Ruins. 

624.  Baldassare  Peruzzi.  [See  No.  145.] — Statue  for  Niche, 

625.  Unknown. — Archways. 

626.  Gamliere  Domenico  Cresti,  called  Passignano  (b.  near  Florence, 
1558,  d,  1638;  pupil  of  Naldini  [Florentine,  1537, — after  1590]  and 
Federico  Zuccaro  [see  No.  108];  visited  Venice;  introduced  a Venetian 
splendor  of  color  into  the  Florentine  styles). — Fa9ade. 

627.  629.  Giovanni  DA  Bologna.— Halls. 

628.  Domenico  Guargena,  called  Fra  Feliciano  de  Messina  (b.  Mes- 
sina, 1610;  pupil  of  Casembroodt  [Dutch,  flourished  about  1650]  and  of 
Guido  [see  No.  314]). — Ceiling. 

630.  M.  A.  CoLONNA.  [See  No.  270.] — Frieze. 

631.  M.  A.  CoLONNA. — Frieze. 

632.  Unknown. — Arch  of  Septimius  Severus. 

633.  Gavaliere  G.  L.  Bernini.— Stairway. 

634.  Unknown.— Architectural  Scene. 


38 


Metropolitan  Museum  of  Art. 


635.  Luca  Giordano,  called  Fa  presto,  “hurry!”  (b.  Naples,  1632,  d. 
1705;  pupil  of  Lo  Spagnoletto  [see  No.  334]  and  Pietro  da  Cortona  [see 
No.  596]; — traveled  in  Italy;  1692,  court-painter  in  Spain;  afterwards  in 
Naples; — the  most  rapid  of,  painters;  called  “the  Protean”  from  his 
marvelous  powers  of  imitation). — Ceiling. 

636.  Cmaliere  G.  L.  Bernini.  [See  No.  9.] — Altar. 

637.  Oamliere  G.  L.  Bernini.— Fountain. 

638.  Domenico  Guargena.  [See  No.  628.]— Compartment  of  Ceiling. 

639.  Unknown.  —Rotunda. 

640.  School  of  Luca  Giordano. — Ceiling  Decoration. 

641.  M.  k..  CoLONNA. — Corner  of  Ceiling. 

642.  Baldassare  Peruzzi. — Wall  Decoration. 

643.  Luca  Giordano. — Wall  Decoration. 

644.  Giovanni  Maria  Galli,  called  Bibiena  (b.  Bibiena,  near  Bologna, 
1625;  d.  1665;  pupil  and  follower  of  Francesco  Albani  [see  No.  307J; 
father  of  several  artists). — Plaza,  with  Fountain. 

645.  School  of  Luca  Giordano. — Ceiling  Decoration. 

646.  Luca  Giordano. — Frieze. 

647.  School  of  Luca  Giordano. — Wall  Decoration. 

648.  Luca  Giordano. — Corner  of  Ceiling. 

649.  School  of  Luca  Giordano. — Recess. 

650.  Luca  Giordano. — Frieze. 

651.  School  of  Palladio.  [See  No.  659.] — Wall  Decoration. 

652.  Francesco  Guardi. — Interior  of  Prison. 

653.  654.  Unknown  (Spanish,  17th  Century). — Decorative  Designs. 

655.  Yenetian  School  (i6th  Century). — Ceiling  Decoration. 

656.  Venetian  School  (i6th  Century). — Ceiling. 

657.  Venetian  School  (i6th  Century). — Ceiling  Decoration. 

658.  Venetian  School  (i6th  Century). — Ceiling  Decoration. 

659.  Andrea  Palladio  (architect,  author;  b.  Vicenza  1518,  d.  1580;  student 
of  Vitruvius  and  of  antique  remains;  successor  of  Sansovino  [see  No.  607] 
at  Venice;  designed  many  villas; — learned  and  bold). — Tuscan  Portico. 

660.  School  cf  Palladio. — Fa9ade. 

661.  Francesco  Guardi. — Venetian  Scene. 


Catalogue  of  Drawings. 


39 


662.  Venetian  School  (i6th  Century). — Ceiling  Decoration. 

663,  664.  CHAKiiES  DE  liA  Fosse  (b.  Paris,  1640,  d.  1716;  pupil  of  Charles 

le  Brun  [French,  1619-1690];  prize  at  the  Academy;  studied  Venetian 
paintings  in  Italy;  1693,  academician;  invited  to  England;  popular  and 
brilliant). — Pitchers . 

665.  Delaeosse.  [See  No.  663.] — Vase. 

666.  School  of  Palladio. — Ceiling  Decoration. 

667.  Delafosse.  [See  No.  663.] — Vase. 

668.  Unknown. — Historical  Scene. 

669.  Unknown. — Angel. 

670.  Giulio  Eomano.  [See  No.  4.] — Battle  in  Time  of  Constantine, 
against  Attila. 


II.  THOMPSON  COLLECTION. 

671—677.  Antonio  Canova  (Born  1757,  died  1822.  Venetian.  The  first  to 
infuse  a new  life  into  modern  Sculpture,  and  unsurpassed  in  his  time. 
His  works  are  in  various  museums  and  churches  in  Europe.) — Six  Pen 
Drawings.  Studies  of  the  Human  Form.  (These  Drawings  were  ob- 
tained from  the  Canova  family  by  the  Sculptor,  Crawford.) 

678.  Unknown  (Time  of  Rafaello). — Venus,  Cupid,  and  Satyr. 

679.  Unknown  (Time  of  Rafaello).— Mary,  Infant  Christ,  and  St.  John. 

680.  Unknown  (Time  of  Rafaello). — Satyr  and  Cupid. 

681.  Unknown  (Time  of  Rafaello). — Christ  and  the  Woman  of  Samaria, 
at  the  Well, 

682.  Unknown  (Early  Drawing). — Cupid  Flying. 

683.  Unknown  (Time  of  Rafaello). — The  Holy  Family. 

684.  Giulio  Eomano.  [See  No.  4.] — Battle  Scene. 

685.  Unknown  (Time  of  Rafaello). — Endymion. 

686.  Unknown  (Time  of  Rafaello). — A Saint  Borne  up  by  Angels. 

687.  Unknown  (Time  of  Rafaello). — Subject  Doubtful. 

688.  Unknown  (Time  of  Rafaello). — Venus  and  Cupid  on  a Dolphin. 

689.  Guido  Eeni.  [See  No.  314.] — The  Virgin. 

690.  Paolo  Veronese.  [See  No.  373.] — Cupid  Holding  a Vase. 


40 


Metropolitan  Museum  of  Art. 


691.  Guido  Beni.  [See  No.  314.]— Ecce  Homo! 

'692.  Pietro  da  Cortona.  [See  No.  596.] — The  Virgin  Mary. 

693.  Francesco  Vanni.  [See  No.  170.] — The  Martyrdom  of  St. 
Catharine. 

694.  Guido  Keni.  [See  No.  314.]— Ascension  of  the  Virgin. 

695.  Andrea  Sacchi  (born,  Rome,  1594  or  1599(7);  died  Rome  1661;  son  of 
a painter,  Benedetto  Sacchi,  who  instructed  him  in  the  rudiments;  studied 
under  Francesco  Albano,  and  became  his  most  distinguished  disciple; 
studied  the  works  of  Rafaello  and  Caravaggio ; favored  and  much  em- 
ployed by  Cardinal  Barberini.  Several  of  the  public  edifices  in  Rome 
are  adorned  by  his  works,  which  rank  among  the  most  admired  of  the 
city.  Regarded  by  his  admirers  as  the  greatest  colorist  of  the  Roman 
School,  and  among  the  most  correct  of  its  designers). — Angels  Adoring 
the  Infant  Saviour. 

696.  Francesco  Eaibolini,  sometimes  called  Francesco  Francia  (born, 
Bologna,  1450,  died  about  1518.  At  first  a goldsmith  and  medallist  of 
high  repute.  As  a painter,  followed  at  first  Pietro  Perugino,  afterwards 
Andrea  Mantegna). — Saint  Cecilia  and  the  Heavenly  Choir. 

697.  Fra  Giovanni  da  Fiesole,  called  Bbato  Angelico  (born,  Fiesole, 
1387;  died  about  1455). — An  Angel. 

698.  Paola  Veronese.  [See  No.  373.] — The  Crucifixion. 

699.  Ribera,  “II  Spagnoletto.  ” [See  No.  334.] — St.  Paul. 

700.  Stefano  DELLA  Bella.  [See  No.  312.] — Figures  in  the  Temple. 

701.  Il  Tintoretto.  [See  No.  412.] — The  Adoration  of  our  Saviour. 

'702.  Gregorio  Pagani  (born  1558,  died  1605;  son  of  Francesco  Pagani; 
scholar  of  Ludovico  Cardi,  called  Cigoli). — Group  of  Singing  Cupids. 

703.  Valerio  Gastello  or  Castelli  (born,  Genoa,  1625,  died  1659.  Son 
of  Bernardo  Castello;  scholar  of  Domenico  Fiasella;  studied  the  works  of 
Procaccini  at  Milan  and  of  Correggio  at  Parma.  Great  fresco  and  battle 
painter). — Job  and  his  Daughters. 

704.  Gavaliere  Giuseppe  Cesare,  called  d’Arpino  (born  at  the  Castle  of 
Arpino  near  Naples,  1560  (or  1568?),  son  of  a humble  artist  who  instructed 
him.  Went  to  Rome  and  worked  his  way  up  under  great  difficulties. 
Paintings  chiefly  at  Rome,  where  he  died  in  1640). — The  Resurrection. 

705.  Giovanni  Batista  Salvi,  called  Sassoferrato  (son  of  Tarquinio 
Salvi;  born  at  the  castle  of  Sassoferrato  near  Ubino,  1605;  instructed  by 
his  father;  then  sent  to  Rome;  studied  at  Naples  under  Domenichino; 
died  at  Rome,  1685). — Adoration. 


Catalogue  of  Drawings. 


41 


706.  Giro  Ferri  (born:  Rome,  1634  (or  1638?);  most  distinguished  scholar 
of  Pietro  da  Cortona;  worked  at  Rome  and  Florence  under  the  most  dis- 
tinguished patronage;  d.  1689). — Music;  Angel  Organ. 

707.  Iii  Parmegiano.  [Sec  No.  191.] — Rural  Subjects. 

708.  Giro  Ferri.  [See  No.  706.] — The  Father  Eternal. 

709.  Gamliere  Mattia  Preti,  called  II  Galabrese  (born,  Taverna  in 
Calabria,  1613;  studied  at  Parma,  Modena  and  Rome;  for  a short  time 
a scholar  of  Giovanni  Lanfranco,  and  for  a longer  time  of  Cento;  went 
to  Venice  and  Bologna,  to  Rome,  Malta,  and  Naples;  died  at  Malta, 
1699). — The  Descent  of  the  Holy  Spirit. 

710.  Lanfranco.  [See  No.  17.] — The  Descent  of  the  Holy  Spirit, 

711.  Sebastiano  del  Piombo.  [See  No.  i.]— A Martyrdom. 

713.  Lanfranco.  [See  No.  17.J— The  Pope  Offering  a Prayer  to  the 
Father. 

713. -T  Francesco  di  Rossi  di  Salviati.  [See  No.  93.]— Offering  the 

Bread  of  Life. 

714.  Pellegrino  Tibaldi.  [See  No.  264.] — The  Ascension  of  Mary 
Magdalene. 

715.  Pasquale  Rossi,  called  Pasqualino  (born  at  Vincenza,  1641;  had 
no  master,  but  studied  the  best  works  of  the  Venetian  and  Roman  schools; 
his  best  paintings  are  at  Rome;  died,  1725). — A Death-Bed  Scene. 

716.  Pellegrino  Tibaldi.  [See  No.  264.] — Two  Angels. 

717.  Annibale  Caracci.  [See  No.  250.] — A T rumpet  of  the  Apocalypse. 

718.  Gaetano  Gandolfi  (born,  1734,  at  S.  Matteo  della  Decima,  in  the 
Bolognese;  excellent  in  etching  as  well  as  painting;  died,  1802). 
— Orpheus  and  Eurydice. 

719.  Unknown. — A Mother  and  Child. 

730.  Giovanni  Paola  Pannini.  [See  No.  130.] — Ruins  of  the  Forum. 

731  Supposed  to  be  Guido  Reni. — Adoration  of  the  Virgin  and  Child. 

733.  Gaetano  Gandolfi.  (See  No.  718). — Mythological  Scene. 

733.  Girolama  da  Carpi  (born,  Ferrara,  1501,  educated  under  Benvenuto 
Garofolo;  went  to  Bologna  and  painted  portraits;  then  to  Parma  and 
Modena,  where  he  studied  the  works  of  Correggio  and  Parmegiano;  his 
best  works  are  at  Ferrara  and  Rovigi;  style,  a mixture  of  the  Roman 
and  Lombard  schools;  died  1566). — St.  Joseph,  the  Virgin  and  In- 
fant Child. 


42 


Metropolitan  Museum  of  Art. 


724.  Maria  Eobusti,  called  Tintobetto  (daughter  of  Giacomo  Robusti 
(called  Tintoretto),  born  at  Venice  in  1560;  instructed  by  her  father;  was 
a portrait-painter;  died,  1590). — Head  of  an  Old  Woman. 

725.  CosTANZO  Cattanio  (born,  Ferrara,  1602;  scholar  of  Ippolito  Scar- 
sellino;  afterwards  of  the  school  of  Guido  at  Bologna^  died  1665). — 
Infant  Angel. 

726.  Carlo  Maratti.  [See  No.  49.] — Ascension  of  the  Virgin. 

727.  Kafaello.  [See  No.  44.] — St.  Peter  as  a Fisherman. 

728.  Lanfranco.  [See  No.  17.] — Virgin,  with  Branch  of  Palm. 

729.  Giulio  Eomano.  [See  No.  4.] — Designs  for  an  Altar. 

730.  — Francesco  di  Eossi  di  Salviati.  [See  No.  93.]— Adam  and  Eve 

Driven  from  Paradise. 

731.  Madame  Le  Brun.  [See  No.  540.]— Child’s  Head. 

732.  Simone  Cantarini,  called  Simone  da  Pasero  (born,  Pesaro,  1612; 
a painter  and  engraver;  instructed  in  design  by  Gio  Giacomo  Pandolfi; 
afterwards  studied  under  Claudio  Ridolfi;  also  in  the  school  of  Guido 
Reni,  until  he  was  obliged  to  leave  Bologna  and  go  to  Rome,  where  he 
studied  the  works  of  Rafaelo;  went  again  to  Bologna,  then  to  Mantua; 
died  1548). — The  Holy  Father  and  Son. 

733.  Sebastiano  Eizzi. — Birth  of  Our  Saviour, 

734.  Eafaello.  [See  No.  44.] — Figure  Running. 

735.  Antonio  Guardini. — Alexander  in  his  Tent. 

736.  Pellegrino  Tibaldi.  [See  No.  264.]— Before  the  Pope. 

737.  Antonio  Guardini. — Battle  Scenes  Mythologized. 

738.  Filippino  Lauri  (younger  son  of  Balthasar  Lauri;  born,  Rome,  1623; 
first  instructed  by  his  brother  Francesco,  after  whose  death  he  became  a 
scholar  of  Angelo  Canaselli;  best  works  at  Rome — bacchanals,  subjects 
of  fables,  &c.,  chiefly  life-size;  a favorite  original  among  English  en- 
gravers; died  1694). — A Satyr. 

739.  Eafaello.  [See  No.  44.]— Back  of  a Nude  Figure. 

740.  Giovanni  Carlo  Lotti.  [See  No.  31.]— King  Solomon. 

741.  Pietro  da  Cortona.  [See  No.  596.]— Descent  from  the  Cross. 

742.  Francesco  Albani.  [See  No.  307.]— Battle  Scene. 

743.  Annibale  Caracci.  [See  No.  250.]— Tobit. 

744.  Andrea  Sacchi,  [See  No.  695.] — Virgin  in  Prayer. 

745.  Pellegrino  Tibaldi.  [See  No.  264.] — Before  the  King. 


Catalogue  of  Drawings. 


43 


746.  Domenichino.  [See  No.  234.] — Dressing  an  Altar. 

747.  Domenico.  [See  No.  165.] — Juno  and  other  Deities. 

748.  Giovanni  Francesco  Bakbieei.  [See  No.  280.] — Nymphs. 

749.  Giovanni  Pietro  Zannotti  (Italian,  but  born  in  Paris,  1674;  when 
young  went  to  Bologna,  where  he  studied  with  Lorenzo  Pasinelli,  and 
where  are  some  of  his  best  paintings;  resided  at  Cortona  for  the  greater 
part  of  his  life,  where  he  distinguished  himself  by  pictures  painted  for 
the  churches;  was  a laborious  and  intelligent  writer  on  art;  died  17&5). 
— A Saint’s  Vision  of  Angels. 

750.  Eaffaeleino  Karli,  called  dee  Garbo  (Florentine,  born  1476,  dis- 
ciple of  Filippino,  with  whom  he  went  to  Rome,  and  painted  some 
beautiful  angels  in  a vault  in  the  capello  della  Minerva;  returned  to 
Florence,  where  his  principal  paintings  were  executed  for  the  churches; 
died  1524  or  1534). — Martyrdom  of  the  Innocents. 

751.  Annibale  Caracci.  [See  No.  250.] — Christ  at  the  Well,  with  the 
Woman  of  Samaria. 

752.  Annibale  Caracci. — Venus  and  Jupiter. 

753.  Annibale  Caracci.  [See  No.  250.] — Study  of  a Back. 

754.  Giulio  Komano  (after  Rafaello). — Pluto  and  Proserpine. 

755.  Marcello  Venusti  (born,  Mantua,  1515  ; scholar  of  Picrino  Buonacorsi 
(called  del  Vaga) ; but  his  chief  attainment  arose  from  his  study  of  the 
works  of  Michael  Angelo  Buonarotti;  works  chiefly  at  Rome;  died  1596). 
— Bacchus  and  Ariadne. 

756.  Stefano  della  Bella.  [See  No.  312.] — Soldier  on  the  Fortress. 

757.  Simone  Cantarini  Da  Pasaro,  [See  No.  732  ]— The  Pope’s  Vision. 

758.  Carlo  Maratti.  [See  No.  49.] — Venus  and  Cupid. 

759.  Correggio.  [See  No.  215.] — Mother  and  Child. 

760.  Carlo  Maratti.  [See  No.  49.]— Academy  Figure. 

761.  Giulio  Romano  (after  Rafaello). — Venus  Receiving  the  Apple. 

762.  Count  Francesco  Algarotti  (an  eminent  writer  and  connoisseur  in 
painting,  sculpture  and  architecture;  designed  and  engraved  for  his  own 
amusement;  flourished  about  1740). — Taken  Down  from  the  Cross. 

763.  Paolo  Veronese.  [See  No.  373,]— Study  of  a Figure. 

764.  Da  Cortona.  [See  No.  596.]— Study  of  a Painting. 

765.  Annibale  Caracci.  [See  No.  250.]— Academy  Figure.  (Dated  1769.) 
Carlo  Maratti.  [See  No.  49.]— Design  of  a Head. 


766. 


44 


Metropolitan  Museum  of  Ariv 


767.  Paolo  Veronese  (supposed). — Christ  Preaching. 

768.  Da  Pino. — Ascension  of  a Pope. 

769.  Unknown.  (Venetian  Artist). — A Martyrdom. — Grecian. 

770.  Taddeo  Zuccaro.  [See  No.  79.]— Subject  Doubtful. 

771.  Allegri  (probably).  [See  No.  215.] — The  Marys  with  the  Dead 
Christ. 

772.  Simone  Cantarini  da  Pasaro.  [See  No.  732.] — Subject  Doubtful. 

773.  Giovanni  Batista  Passeri.— The  Judgment  of  Solomon. 

774.  Luca  Giordano.  [See  No.  635.] — Nativity  of  the  Saviour. 

775.  Giacopo  Palma  IL  Vecchio,  [See  No.  402.] — Christ’s  Entry  into 
Jerusalem. 

776.  Giulio  Romano.  [See  No.  4.] — Draped  Figure. 

777.  Signed  “A.  C.  F.” — The  Virgin  Received  into  Glory. 

778.  Guido  Rent.  [See  No.  314.] — Ascension  of  the  Virgin. 

779.  Unknown. — Juno. 

780.  Luigi  Garzi. — The  Women  at  the  Tomb  of  the  Saviour.  (The 
original  of  this  picture  is  at  St.  Martha’s,  Rome.) 

781.  Correggio.  [See  No.  215.] — An  Angel’s  Head. 

782.  Gio  Paolo  Pannini.  [See  No.  130.]— Roman  Ruins. 

783.  Giulio  Romano.  [See  No.  4.] — Design  for  an  Arch. 

784.  Luca  Signorelli  (born  at  Cortona,  1439;  disciple  of  Pietro  della 
Francesca,  and  one  of  the  ablest  artists  of  his  time;  one  of  the  first  of 
Tuscans  to  cast  off  the  old  stiffness  and  draw  the  human  figure  correctly; 
his  fresco  at  Orieto  gave  hints  to  Michael  Angelo;  at  Rome  he  assisted 
in  the  decorations  of  the  Sistina;  other  works,  at  Arezzo,  Perugia, 
Urbino,  Siena,  and  Florence;  died,  1521). — The  Dead  Christ  and 
Angels  Watching. 

785.  Tintoretto.  [See  No.  412.] — Christ  and  Mary  in  the  Garden. 

786.  Giro  Ferri.  [See  No.  706.]— Glorifying  the  Father  Eternal. 

787.  Il  Rosso.  [See  No.  105.]— Two  Cupids. 

788.  Il  Rosso.  [See  No.  105.]— Madonna  and  Angels. 

789.  Giovanni  Francesco  Romanelli  (born,  Viterbo,  1617;  died,  1661). 

— The  Emperor  Constantine. 

790.  Andrea  Sacchi.  [See  No.  695.]— Priest  Blessing  the  Poor. 

791.  Donato  Creti.  [See  No.  198.]— Madonna  and  Child. 


Catalogue  of  Drawings. 


45. 


792.  Domenichino.  [See  No.  234.] — The  Angel  and  Tobit. 

793.  Cesare  Dandini  (born  at  Florence  about  1595;  scholar  of  Francesco 
Curradi,  afterwards  of  Domenico  Cresti  (called  Prosignano),  and  Cristo- 
fano  Allori;  died,  1658). — Man  in  Roman  Toga. 

794.  'Unknown. — Man  in  Roman  Toga. 

795.  Charles  Andrew  (called  Carlo)  Van  Loo  (younger  brother  of  John 
Baptist  Van  Loo;  born  at  Nice,  1705;  instructed  by  his  brother,  with 
whom  he  went  to  Rome  and  studied  under  Benedetto  Luti ; went  to  Paris 
in  1723,  employed  with  his  brother  to  repair  the  paintings  by  Primaticcio 
in  the  gallery  of  Fontainebleau;  in  1727  retnrned  to  Italy,  spent  some 
time  at  Rome,  some  years  at  Turin;  in  1734  went  to  France;  one  of  the 
most  popular  artists  of  his  time;  died  1765). — A Head. 

796.  Da  Volterra.  [See  No.  57.]— A Study. 

797.  Unknown. — Interior  of  Farm  House. 

798.  Unknown. — The  Raising  of  Lazarus. 

799.  Signed  “S.  B.  1840.” — Martyrdom  of  St.  Paul. 

800.  Overbeck. — The  Virgin  Ascending. 

801.  Stefano  Pazzi, — Elijah  and  the  Prophets  of  Bael  at  Mt.  Carmel. 

802.  Baldassare  Peruzzi.  [See  No.  145.] — Christ  and  the  Centurion(?). 

803.  Unknown. — Apparently  a Study  for  a Panel,  in  the  Greek  or 
Russian  Church.  (Dated  1842.) 

804.  Unknown. — Good  Tidings  by  an  Angel. 

805.  Unknown. — Drawings  of  Heads,  Arms,  and  Hands. 

806.  Unknown. — Cupid  on  a Rope. 

807.  Salvator  Rosa.  [See  No.  342.]— Nude  Figure,  Sheathing  a Sword. 

808.  Parmegiano.  [See  No.  1 71.]— Girl  with  a Mandolin. 

809.  Canova. — Studies  of  Human  Figure. 

810.  Vincent  Camucini  (historical  portrait  painter  and  engraver;  born, 
Rome,  1773;  died,  1844;  eminent  both  as  an  artist  and  as  a man  of  taste . 
and  a collector). — Death  of  Caesar. 

811.  Lanfranco.  [See  No.  17.]— Female  Head  Upturned. 

812.  Innocenzio  II  da  Imola. — The  Holy  Family. 

813.  Supposed  to  be  Titian. — Seeing  a Heavenly  Vision(?). 

814.  Carlo  Lotti.  [See  No.  693.] — Entombment  of  Christ. 

815.  Overbeck.  — Mary  at  the  Entombment. 


4G 


Metropolitan  Museum  of  Art. 


816.  Francesco  Francia.  [See  No.  696.] — Entombment  of  Christ. 

817.  Unknown.— Death-Bed  of  St.  Joseph. 

818.  Unknown  (Roman  Artist). — Duel  of  Two  Knights. 

819.  Unknown  (French). — Study  of  Drapery. 

820.  Unknown.— A Greek  Subject. 

821.  Canova. — The  Assassination  of  a Roman  Matron. 

822.  Unknown  (Late  Roman  School). — Mythological  Scene. 

823.  After  Da  Volaterra. — The  Descent  from  the  Cross. 

824.  Madame  E.  V.  Le  Brun.  [See  No.  540,] — Portrait  of  a Lady 
(Martha  de  Leze). 

825.  Cadel. — Sporting  Nymphs. 

826.  Unknown. — Soldier  and  Maiden. 

827.  Cadel, — The  Dead  Christ  and  Mary. 

828.  Unknown. — Horse,  Cow,  Lion,  and  Pig. 

829.  Masaccio.  [See  No.  121.] — An  Angel. 

830.  Giacomo  Barri  (Venetian,  flourished  about  1650;  painter  and  en- 
graver).— Design  for  a Shield  (1650). 

831.  Orazio  Samacchinl— Triumph  of  Bacchus  (?). 

832.  Unknown. — A Magdalen. 

833.  Noel  CoYPEL  (born,  Paris,  1628;  died,  1707;  best  of  his  works  are  in 
the  Louvre). — A1  Fresco. 

834.  Unknown. — Cupid  Running,  with  Flowers. 

835.  PiNETTi,  1828. — Venus  with  Doves. 

836.  Claude  Lorraine.  [See  No.  546.] — A Tree  and  Figure. 

837.  Unknown  (Modem  French). — The  Dead  Body  of  Hector. 

838.  Penelli. — A Knight  on  Horseback  Bidding  Farewell  to  his 
Lady  Fair. 

839.  Vandyck.  [See  No.  456.] — Soldier  Sharing  his  Cloak  with  a 
Beggar. 

840.  Camucini. — Roman  Holiday,  and  Other  Scenes. 

841.  CamucIni. — Assassination  of  Julius  Caesar. 

842,843.  Camucini.— Greek  Heads. 

844.  Camucini. — T arquin. 


Catalogue  of  Drawings. 


845. 

846. 

847. 

848. 

849. 

850. 

851. 


Oamucini. — Roman  Heads. 

Camucini. — Mythological  Scene. 

Camuoini. — “Elio  Cesare”  (Caesar  as  the  Sun,  divine). 
Camucini. — Egyptian  Subject  (Female). 

Camucini. — “Cerere  velata”  (Veiled  Ceres). 

Camucini. — “Combattante  ferito”  (The  Wounded  Gladiator). 
Camucini. — Prometheus  Bound. 


INDEX  TO  DRAWINGS. 


“A.  C.  F.” 777 

Abbati,  Niccolo  dell’. . .28,  33,  46,  50 

Albani,  Francesco 307,  309,  310 

Alberti,  Cherubino 559,  585 

Algarotti 762 

Allegri,  Antonio,  da  Correggio,  215, 
217,  230,  232,  759,  771,  781 

do.  School  of 228 

Allori,  Cristofano 90 

Andrea  del  Sarto,  see  Vannucchi. 

Andrea  Mantegna 189,  190 

do.  School  of 188 

Bagnacavallo,  see  Ramenghi, 

Bandinelli,  Baccio 83,  96,  97 

Barbarelli,  G.,  “Giorgione”  420,  430 
Barbatelli,  see  Poccetti. 

Barbieri,  Giovanni  Francesco,  “Guer- 
cino.”  279,  280,  282,  286,  289, 
292,  294,  295,  296,  298,  300,  748 
Baroccio,  Federico,  151,  153,  154,  156 
157,  158,  173,  178,  181 

Barri,  Giacomo 830 

Bartolommeo,  Fra,  see  Porta. 

Batoni,  Pompeo 26,  63,  69 

Beato  Angelico 697 

Beccafumi,  Domenico,  “Micarino,” 
165,  167,  169,  171,  172,  183,  184, 
747 

Bella,  Stefano  della,  311,  312,  315, 
316,  317,  318,  319,  7CO,  756 
Bernini,  G.  Lorenzo,  9,  633,  636,  637 
Berretini,  Pietro,  da  Cortona,  596,  597, 
598,  604,  692,  741,  764 


Bibiena,  see  Galli. 

Francia,  Bigio 53 

Bonvicino,  Alessandro,  “II  Moretto,” 
209,  219 

Borgognone,  II,  see  Cortese. 

Boucher,  Fran9ois 5I5>  523 

do.  School  of.. 516 


Boudewyns,  Anton  Frans 467 

Bracelli,  Giovanni  Battista 621 

Bril,  Paul 442 

Brizzi,  Serafino 322 

Bronzino,  Agnolo loi 

Brun,  Marie  Louise  Elisabette  le,  540, 
731,  824 

Brunelleschi,  Filippo .620 

Bugiardini,  Giuliano 86 

Buonsignori,  (?) 278 

Caccia,  Guglielmo,  ‘^11  Moncalvo,”76 

Cadel 825,  827 

Cagliari,  Paolo,  “Paul  Veronese”  373, 
375,  376,  378,  380,  381,  883,  690, 
698,  763,  767 

Calabrese 709 

Caldara,  Polidoro,  da  Caravaggio,  2, 
35,  40,  61,  65 

do.  School  of 35 

Callot,  Jacques,  518,  519,  520,  521, 


528,  529,  530,  531,  532,  533,  534, 
535,  536,  537,  538,  539 

Cambiaso,  Luca 21 1,  212 

Campagnola,  Domenico 385 

Camucini 810,  840-851 

Canova,  Antonio. . .671-677,  8C9,  821 
Caiacci, ’AgOitino 263,  265 


Caracci,  Annibale,  246,  247,  248,  250, 
253,  258,  260,  261,  717,  743,  751, 
752,  753,  765 

Caracci,  Ludovico,  249,  251,  252,  256, 

257 

Caraccis,  School  of  the,  254,  255,  259, 
266,  267,  273,  275 

Caravaggio,  Michele  Angelo  da,  324. 


Carpione,  Giulio 390 

Carrucci,  Jacopo,  da  Pontormo,  81, 

122,  124,  138 

Carpi,  Girolomo  da  723 

Gastello,  Valerio 703 


Index  to  Drawings. 


49 


Castiglione,  Giovanni  Benedetto.  .214 

Cattanio,  Costanzo 725 

Cellini,  Benvenuto 78,  123 

Cesare,  Giuseppe 704 

Cignani,  Carlo 291,  293,  297 

Claude  Lorraine,  see  Gelee, 

Clouet,  see  Janet. 

Coello,  Claudio 496 

Colonna,  Michele  Angelo,  262,  270, 
276,  277,  290,  630,  631.  641 
Correggio,  see  Allegri. 

Cortese,  Jacopo,  “II  Borgognone,’’ 
508,  509,  510,  511 
Cortona,  Pietro  da,  see  Berretini. 

Costa,  Lorenzo 150 

Coypel,  Noel 833 

Cranach,  see  Sunder. 

Cresti,  Domenico,  “Passignano,”  625 

Creti,  Donato 198,  791 

Damini,  Pietro 182 

Dandini,  Cesare 793 

Daniele  da  Vol terra,  see  Ricciarelli. 

DeVoo,  Martin 477 

Discepoli,  Giov.  Battista,  “IlZoppo,’’ 
333 

Diziani,  Gasparo 433 

Domenichino,  see  Zampieri. 

Durante,  Giorgio,  200,  201,  202,  203, 
204,  205,  206,  207,  208 

Diirer,  Albrecht 479,  483 

Faenza,  Giacomo  da 560 

Fattore,  II,  see  Penni. 

Feliciano,  Fra,  see  Guargena. 

P^erri,  Ciro 706,  708,  786 

Ferrari,  Gaudenzio 185 

Fischetti,  Fidele(?) 323 

Florentine  School.  .592,  603,  605,  617 
Fosse,  Charles  de  la,  663,  664,  665, 
667 

Francia,  Francesco 696,  816 

Fratta,  (?) 305,  306 

Gain,  Giovanni  Maria,  “Bibiena,”  644 

Gandolfi,  Ubaldo 332 

Gandolfi,  Gaetano 718,  722 

Garbo,  Raffaellino  del 75° 


Garzi,  Luigi 780 

Gelee,  Claude,  “Claude  Lorraine,” 
546,  548,  549.  550,  55L  552,  555, 
836 

Gerretz,  Rembrandt,  van  Ryhn,  445, 
448,  446,  450,  451,  452,  453, 
454,  455 

Gherado  dalle  Notti,  see  Honthorst. 

Ghiberti,  Lorenzo 112,  113 

Giordano,  Luca,  635,  643,  646,  648, 
650,  774 

Giordano,  School  of,  640,  645,  647, 
648 

Giorgione,  see  Barbarelli. 

Giovanni  da  Bologna,  285,  287,  299 
301,  627,  629 

Giovanni  da  S.  Giovanni,  see  Manozzi. 
Giulio  Romano.  4,  13,  21,  25,  27,  43, 
52,  670,  684,  729,  754,  761,  776, 

' 783 

Giulio  Romano,  School  of 5 

Golgio,  (?) 80 

Graffi,  Niccolo,  (?) 410 

Greco,  II,  see  Teoscopoli. 

Greuze,  Jean  Baptiste 553 

Guardi,  Francesco 436,  652,  661 

Guargena,  Domenico, “Fra  Feliciano,’’ 
628,  638 

Guercino,  see  Barbieri. 

Honthorst,  Gerard.  “ Gherado  dalle 

Notti  ” 32 

Innocenzio  II  da  Imola 812 

Jacobs,  Lucas,  van  Leyden,  435,  437, 
438,  439,  440,  441.  443 

Janet,  Fran9ois  Clouet 541 

Jouvenet,  Jean 441 

Lanfranco,  Giovanni  17,  710,  712,  728, 
811 

Lauri,  Filippino 738 

Leyden,  Lucas  van,  see  Jacobs. 

Leonardo  da  Vinci i86,  187 

Lodi,  Ermenigildo 195 

Lotti,  or  Loth,  Giovanni  Carlo,  31, 
740,  814 

Lucchesino,  II,  see  Testa 


50 


Metropolitan  Museum  of  Art. 


Luini,  Bernardino 239 

do.  School  of 226 

Manozzi,  Giovanni,  da  S.  Giovanni,  77 
Mantegna,  see  Andrea. 

Maratti,  Carlo,  49,  726,  758,  76c,  766 

Masaccio,  II 121,  829 

Maturino 42 

Mazzola,  Gerolamo  F.  M.,  “Il  Parme" 
giano,  191,  193,  194,  196,  216 
707,  808 

Medula,  II,  see  Schidvone. 

Micarino,  see  Beccafumi. 

Michele  Angelo  Buonarrotti,  92,  loi, 
129,  136,  590,  591,  595,  599,  600 
do.  School  of,  95,  1 19,  125,  126, 


593,  594,  602,  606 
Moncalvo,  II,  see  Caccia. 

Moreau,  Jean  Michel. ..... .543,  545 

Moretto,  II,  see  Bonvicino. 

Murillo,  Bartolome  Esteban,  488,  489, 
490,  493,  494 

do.  School  of 491,  492 

Ostade,  Adrian  van 469 

Overbeck 800,  815 

Pacheco,  Francisco 497 

Paganni,  Gregorio 702 

Palladio,  Andrea 659 

do.  School  of 651,660,666 

Palma,  Jacopo,  II  Giovane. . .432,  434 

Palma,  Jacopo,  II  Vecchio,  402,  40^, 
407,  409,  41 1 


Pannini,  Giovanni  Paolo,  130,  720,  782 


Paolo,  Veronese,  see  Cagliari. 
Parmegiano,  II,  see  Mazzola. 

Passeri,  Giovanni  Batista. . . 773 

Passignano,  see  Cresti. 

Pazzi,  Stefano 801 

Penelli 838 


Penni,  Giov.  Francesco,  “II  Fattore,’’ 
12,  39 

Perugino,  see  Vannucci. 

Peruzzi,  Baldassare,  da  Siena,  145, 
147,  624,  642,  802 

Pesaro,  Simone,  Cantarini  di,  733, 
757,  772 


Pierino  del  Vaga,  see  Vaga. 


Pinetti 835 

Pino  da 768 

Piola,  Pellegro 192 


Piombo,  del,  see  Sebastiano. 

Pocetti,  (Barbatelli),  Bernandino,  88, 
146 

Polidoro  da  Caravaggio,  see  Caldara. 

Polidoro  Veneziano 426.  429,  431 

Pollajuolo,  Antonio 114,  115 

Pontormo,  see  Carrucci. 

Porta,  Baccio  della,  “Fra  Bartolom- 
meo.”  132,  134,  135 

Pourbus,  Francis,  the  Younger. . .446 

Poussin,  Nicholas 527,  547,  554 

Pozzo,  Andrea .10,  60,  577 

Primatticcio,  Franc.,  302,  304,  308,  330 
Rafaello  Sanzio  da  Urbino,  44,  58, 
727,  734.  739 

Rafaello,  School  of.. 3,  6,  8,  ii,  36, 
41,  70,  74,  75,  140 
Raimondi,  Marco  Antonio. ...  30,  45 
Ramenghi.  Bartolommeo,  da  Bagnaca- 
vallo,  240 

Razzi,  Giovanni  Antonio,  ‘ ‘ II  Sodo- 
ma,”  175,  179 
Rembrandt,  see  Gerretz. 

Reni,  Guido,  313,  314,  320,  321,  325, 
326,  327,  328,  329,  331,  689,  691, 
694,  721,  778 

Ribera,  Josef,  “Lo  Spagnoletto”  337, 
338,  339,  340,  344,  346,  699 

Ribera,  School  of 336 

Ricciarella,  Daniele,  da  Volterra,  57, 

67,  556,  558,  561,  563,  565,  566, 

567,  568,  580,  796,  823 

Rizzi,  Sebastiano 733 

Robusti,  Giacomo,  “II  Tintoretto,” 
412,  413,  414,  415,  416,  417,  418, 
419,  421,  422,  423,  425.427,  701, 

785 

Roman  School,  557,  562,  564,  570, 
571,  575,  579,  581,582,  583,  588, 

589 

Romanelli 789 


Index  to  Drawings. 


51 


Romanino 141 

Roos,  Philip,  “Rosa  da  Tivoli.”. . .54 
Rosa,  Salvator,  94,  98,  341,  342,  343, 
345.  347,  348,  350,  351,  352.  353, 
355,  356,  357,  358,  360,  361,  362, 
807 

Rosa.  School  of 359,  359 

Rosetti,  Giovanni  Paolo 155,  160 

Rossi,  Pasquale 715 

Rosso,  II 105,  787,  788 

Rubens,  Peter  Paul,  465,  466,  468, 

471 

Ruysdael,  Jacob 464 

B.” 799 

Sacchi,  Andrea. 695,  744,  790 

Salvi,  Giovanni  Batista 705 

Salviati,  Francesco  dei  Rossi  di,  93, 
107,  610,  713,  730 

Samacchini,  Orazio 831 

Sangallo,  Antonio,  611,  613,  614, 
615,  616 

Sansovino,  see  Tatti, 

Sarto,  del,  see  Vannucchi. 

Schiavone,  Andrea,  “ 11  Medula,”  428 
Schoen,  or  Schongauer,  Martin. . .486 
Sebastiano  “del  Piombo,”  Fra.,  i. 


711 

Serlio,  Sebastiano 618 

Signorelli,  Luca 784 

Sirani,  Eliiabetta 223 

Sodoma,  II,  see  Razzi. 
vSpagnoletto,  Lo,  see  Ribera. 

Subleyras,  Pierre 514 

Sueur,  Eustace,  le 544 

Sunder,  Lucas,  “Cranach,” 485 


Tatti,  Jacopo,  “Sansovino,”  607,  608, 
609,  622 

Tempesta,  Antonio,  23,  24,  84,  85,  89, 


99,  lor,  102,  103,  143 
Teniers,  David,  the  Elder,  474,  475, 
476 

Teniers,  David,  the  Younger 423 

Teoscopoli,  Domenico,  “H  Greco,”487 
Tesi,  Mauro 623 


Testa,  Pietro,  “II  Lucchesino,”  59, 
82,  91 

Tibaldi,  Pellegrino,  264, 268,  271,  272, 
274,  283,  284,  288,  714,  716,  736, 
745 

Tiepolo,  Giovanni  Battista,  363,  365, 
366,  367,  368,  369,  370,  371,  372 
Tintoretto,  II,  see  Robusti. 


Tintoretto,  Marietta .' 724 

Titi,  Santo  di 128 

Titian,  see  Vecelli. 


Udine,  Giov.  da,  576,  578,  584,  586, 
587 

Umbach,  Jonas,  the  Younger 482 

Unknown,  Roman,  18,  19,  20,  22,  37, 
38,47,  48,  51,  62,  64,  66,  68,  71, 
72,  73,  109,  127,  131,  142,  144, 
148,  149,  152,  159,  161,  164,  174, 
176,  177,  180,  210,  213,  218,  220, 
221,  224,  225,  229,  231,  235,  238, 
242,  243,  269,  281,  303,  354,  364, 
379»  382,  386,  394,  405,  424,  444, 
447,  459,  461,  463,  470,  473,  478, 
480,  481,  495,  505,  517,  572,  619, 
625,  634,  639,  653,  654,  668,  669, 
678,  679,  680,  681,  682,  683,  685, 
686,  687,  688,  719,  769,  794,  797, 
798,  803,  804,  805,  806,  817,  818 
819,  820,  822,  826,  828,  832,  834, 

837 

Yaga,  Pierino  del  7,  29,  34,  55 

Vandyck,  Anthony,  456,  457,  458, 
460,  462,  839 

Van  Loo,  Carlo 795 

Vanni,  Francesco,  162,  163,  166,  170, 
Vannucchi,  Andrea,  “del  Sarto”,.  104, 
106,  no,  III,  116,  117,  118,  133 
Vannucci,  Pietro,  “Perugino,”  197,  199 

Vasari,  Giorgio 612 

Vecelli,  Tiziano,  daCadore,  374,  3S7, 
388,  389,  391,  392,  393,  395,  397, 
401,  403,  813 

Vecelli,  School  of,  377,  396,  398,  790, 
4^0,  406,  408 


52 


Metropolitan  Museum  of  Art. 


Valasquez,  Diego,  de  Silva,  498,  499, 
500,  501,  502,  503,  504,  506 


Venusti,  Marcello 755 

Veronese,  Carlo,  (?) 384 

Venetian  School,  655,  656,  657,  658, 

662 

Veronese,  Paul,  see  Cagliari. 

Wagner,  Johann  Georg 484 


Watteau,  Antoine,  522,  524,  525,  526 


Zampieri,  Domenico,  “Domenichino,” 


233,  234,  241,  244,  245,  746,  792 

Zampieri,  School  of 236 

Zoppo,  II,  see  Discepoli. 

Zuccarelli,  Francesco 137 

Zuccaro,  Federico 108,  139 

Zuccaro  Taddeo 79,  770 

Zurbaran,  Francisco ....  507,  512,  513 


COLLECTION  OF  WATER-COLOR  PAINTINGS. 

BY  WILLIAM  T.  RICHARDS. 

Presented  by  Rev.  E.  L.  Magoon,  D.  D. 

Mr.  Richards,  while  spending  the  summer  of  187©  at  Atlantic  City,  made 
several  water-color  sketches  as  notes  for  oil-paintings.  Some  of  the  sketches 
being  seen  by  Dr.  E.  I...  Magoon  at  his  first  interview  with  the  artist,  the  present 
collection  was  then  and  there  begun.  Since  that  time  new  pictures  have  been 
added  as  fast  as  the  artist’s  time  and  the  purchaser’s  resources  would  permit. 
The  two  friends  traversed  the  New  Hampshire  and  the  New  England  coast 
together,  choosing  favorable  subjects  and  depicting  only  actual  scenes. 

At  the  first  three  exhibitions  of  the  Water-Color  Society  in  New  York,  the 
artist  reluctantly  allowed  his  friend  to  exhibit  specimens  of  his  work,  but  he  has 
never  pushed  his  own  works  into  prominence.  He  did  not  even  know  of  the 
present  donation  until  after  it  was  made. 

1.  Sundown  at  Centre  Harbor,  New  Hampshire. — 1874. 

2.  Moonlight  on  Mount  Lafayette,  N.  H. — 1873. 

3.  From  Channing  Avenue,  Newport. — 1875. 

4.  Lake  Winnipiseogee  at  Wier’s  Landing,  N.  H. — 1874. 

5.  Progressive  Freedom.  A View  of  Florence,  Italy. — 1871. 

6.  Seven  Views  as  follows: 

Left  Hand  Column  (beginning  at  the  top): 

From  the  Simplon  Valley  of  the  Rhone,  near  Brigue. — 1871. 

Isle  of  Shoals,  New  Hampshire. — 1874  (or  1872?). 

Centre  Column: 

N ear  Purgatory . — 1878. 

Fort  Dumpling  a la  Turner,  (Conanicut  Island). — 1877. 

Seine-ing  in  Mackerel  Cove.  —1878. 

Right  Hand  Column: 

Good  Harbor  Beach,  Cape  Ann. — 1871. 

Cliffs  at  Newport. — 1871. 

7.  Out  of  Peril  into  Port. 

8.  Storm  King  on  the  Hudson,  above  West  Point,  N.  Y. — 1873. 

9.  Meadows  and  Mote  Mountain,  N.  H. — 1873. 

10.  Second  Beach,  Newport  (From  Paradise  to  Purgatory). — 1878. 

11.  Long  Pond  at  the  Foot  of  Red  Hill,  N,  H. — 1874. 

12.  A Low  Tide  at  Atlantic  City,  N.  J. — 1873. 

13.  Lighthouse  at  Annis  Squam,  Cape  Ann. — 1873. 

14.  A Sunset  off  Cape  Ann.  1872. 

15.  Brigantine  Beach,  Atlantic  City,  N.  J. — 1874. 

16.  Mount  Hope,  Rhode  Island. — 1875. 

17.  ’‘Break,  break,  break.” — 1871. 

“Break,  break,  break. 

At  the  foot  of  thy  crags,  O Sea! 

But  the  tender  grace  of  a day  that  is  dead 
Will  never  come  back  to  me.” 


54 


Metropolitan  Museum  of  Art. 


18.  Nantasket  Beach,  Massachusetts. — 1871. 

19.  Light  House  Point,  Atlantic  City. 

20.  “And  the  stately  ships  go  on.” — 1871. 

“And  the  stately  ships  go  on 
To  their  haven  under  the  hill; 

But  O for  the  touch  of  a vanished  hand, 

And  the  sound  of  a voice  that  is  still. 

21.  The  Approach  to  Centre  Harbor. — 1873. 

22.  Pulpit  Rock,  Nahant,  Mass. 

23.  Off  Bass  Rocks,  Gloucester. — 1871. 

24.  The  Old  Fort  at  Conanicut,  R.  I. — 1876. 

25.  Morning  at  Atlantic  City,  N.  J.  — 1871. 

26.  The  Mt.  Washington  Range,  from  Mt.  Kearsarge. — 1872. 

27.  Lake  Winnipiseogee  from  Red  Hill. — 1874. 

28.  “Break,  break,  break-” — 1871. 

“Break,  break,  break, 

On  thy  cold  gray  stones,  O Sea! 

And  I would  that  my  tongue  could  utter 
The  thoughts  that  arise  in  me.” 

29.  Annis  Squam  Light  House  and  River,  Cape  Ann,  Mass  -1871. 
BO.  Sunrise  at  Newport,  R.  I. — 1871. 

31.  The  Fog  Bell  at  Rockport,  Cape  Ann. — 1871. 

32.  Valley  of  the  Pemigewasset,  near  Plymouth,  N.  H. — 1872. 

33.  From  Paradise  to  Purgatory,  Newport. — 1878. 

34.  The  Franconia  Mountains  from  Compton,  N.  H. — 1872. 

35.  Mount  Chocorua  and  Lake.- — 1873. 

36.  Lake  Squam  from  Red  Hill,-— 1874. 

37.  The  End  of  the  Season  at  Newport. — 1876. 

38.  Purgatory  Cliff,  Newport.  — 1876. 

39.  Thoroughfare,  Absecon,  N.  J. — August,  1870. 

40.  The  Eagle’s  Nest,  Franconia  Notch. — 1873. 

41.  Twilight.  (Atlantic  City,  N.  J.) — July,  1870. 

42.  Near  Lily  Pond,  Newport. — 1876. 

43.  Salisbury  Plain  and  Stonehenge. 

44.  The  Inlet,  Atlantic  City,  N.  J- — August,  1870. 

45.  - A Gray  Day. — August,  1870. 

46.  Flood  Tide  at  Absecon  Beach. — August,  1870. 

47.  Low  Tide,  Brigantine  Beach. — August,  1870, 

48.  Down  Crawford  Notch,  N.  H. — 1872, 

49.  Little  Good  Harbor  Beach,  Gloucester,  Mass. — 1871, 

50.  Mt.  Washington,  from  Conway  Meadows,  N.  H. — 1873. 

51.  Sunset  on  Mt.  Chocorna,  N.  H- — 1872, 

52.  Clearing  Up,  Upper  Bartlett,  N.  H.  — 1873. 

53.  Coffin’s  Beach,  Cape  Ann. — 1871. 

54.  Crawford’s  Notch,  from  near  the  Crawford  House.  — 1872. 

55.  Lake  Squam  and  the  Sandwich  Mountains. — 1872, 


Catalogue  of  Water-Color  Paintings. 


55 


56.  Afternoon  on  Conanicut. — 1876. 

57.  Eastward  from  Conanicut. — 1876. 

58.  Clearing  Off. — Newport,  1877. 

59.  Sunset  on  the  Beach. — July,  1870. 

60.  Spring  Tide,  Atlantic  City. — August,  1870. 

61.  Moonrise. 

62.  Sand  Hills,  New  Jersey  Coast. — August,  1870. 

63.  Southward  from  the  Cliffs  at  Newport. — 1871. 

64.  Profile  Notch;  Mt.  Lafayette  from  Ball  Mountain. — 1872. 

65.  Cape  May,  New  Jersey.  — 1872. 

66.  Feudal  Force.  The  Castle  of  Chillon,  Lake  Geneva. — 1871. 

67.  From  the  Flume  House,  Franconia,  N.  H. — 1872. 

68  Nine  Views,  as  follows: 

Left  Hand  Column  (beginning  at  top)  : 

“Three  Fishers  went  sailing  out  into  the  West.” — 1878. 
Mount  Blanc,  from  Lake  Geneva. — 1871. 

Bell  Rock,  Newport.  — 1878. 

Centre  Column: 

On  the  Brandywine. — 1877. 

Purgatory,  Newport,  R.  I. — 1876. 

Good  Harbor  Beach,  Cape  Ann. — 1871. 

Right  Hand  Column: 

After  a Gale. — 1877. 

Sand  Hills  of  Coffin’s  Beach — 1871. 

Beach  at  Biddeford  Pool. — 1877. 

69.  An  Autumnal  Snow  on  Mt.  Washington. — 1872. 

70.  Sunrise  on  Ossipee  Mountains. — 1872. 

71.  A High  Tide  at  Atlantic  City. — 1873. 

The  following  Water-Color  Paintings  are  by 

JOHN  W.  HILL. 

(born,  1812;  died,  1879.) 

72.  Plums.— 1870. 

73.  Three  Views,  Scenes  not  known  nor  dated. 

74.  Peach  Blossoms. 


STEEL  ENGRAVINGS  AND 
ETCHINGS. 


1.  Festival  of  Venus.  Rubens.  Engraved  by  Sonnenleiter. 

Presented  by  Gen.  L.  P.  DI  CesnoLA. 


2.  Key  to  No.  25. 

3.  Sir  Edward  Hughes.  Sir  Joshua  Reynolds. 

Beqiiest  of  Mrs.  A.  M.  Minturn. 

4.  The  Three  Ages.  Gerard.  Engraved  by  Raphael  Morghen. 

5.  The  Sistine  Madonna.  Raphael.  Engraved  by  Steinla. 

6.  The  Last  Supper.  Leonardo  de  Vinci. 

Engraved  by  Raphael  Morghen. 

7.  The  Last  Sacrament  of  St.  Jerome.  Domenichino. 

Engraved  by  Ignazio  Pa  VON. 


8.  The  Presentation  in  the  Temple.  Engraved  by  A.  Pereetti. 

9.  Gethsemane.  Pencil  drawing  by  Friederich  Overbeck.  Born  at 
Lubeck,  1789;  died  in  Rome,  i86g;  went  to  Rome,  1809,  remained 
there  until  1831  (visiting  Munich),  returned  to  Italy  where  mo:>t  of  his 
Frescoes  are.  Ilis  drawings  aie  numerous  and  of  rare  merit,  and  it  is 
chiefly  through  their  superior  excellence  that  he  derived  his  fame. 

Etchings  not  otherwise  atti'ibuted,  were  presented  by  Mr.  Chas.  Sedelnieyer. 

10.  Beatrice  de  Cusance,  Duchesse  de  Lorraine. 

Etched  by  Laguillermie. 

11.  The  Holy  Family.  Rembrandt.  Etched  by  Courtrt. 


12.  Head  of  Christ.  Munkacsy. 

13.  Head  of  a Man.  Rembrandt. 

14.  Head  of  a Woman.  Rembrandt. 

15.  The  Syndics.  Rembrandt. 


Etched  by  Koepping. 
Etched  by  Koepping. 
Etched  by  Koepping. 

Etched  by  Koepping. 
Presented  by  Mr.  G.  G.  King. 


16.  Christ  before  Pilate.  Munkacsy.  Etched  by  Waltner. 

17.  Last  Days  of  Mozart.  Munkacsy.  Etched  by  Mathey. 

18.  The  Heroes  of  the  Village.  Munkacsy.  Etched  by  Koepping. 

19.  Last  Day  of  the  Condemned.  Munkacsy.  Etched  by  Koepping. 


Steel  Etchings  and  Engravings. 


57 


20. 

The  Night  Watch.  Munkacsy. 

Etched  by  Koepping. 

21. 

The  New  Baby.  Munkacsy. 

Etched  by  CouRTRY. 

22. 

Grandmother’s  Birthday.  Brozik. 

Etched  by  Laguileermie. 

23. 

Milton  Dictating  to  his  Daughters. 

Munkacsy. 

Etched  by  CoURTRY. 

24. 

The  Night  Watch.  Munkacsy. 

Etched  by  Koepping. 
Presented  by  Mr.  S.  P.  Avery. 

25. 

Puvis  de  Chavannes,  (Pierre.)  Study  in  oil  for  the  decoration  of  the 
Grand  Amphitheatre  of  the  Sorbonne,  Paris.  Representing  Philosophy 
and  History,  History  interrogating  the  past;  Science  is  represented  by 
Botany,  Minerology  and  Geology. 

Loaned  by  Mr.  H.  O.  Havemeyer. 

26. 

The  Night  Watch.  Rembrandt. 

Etched  by  Waetner. 
Presented  by  Mr.  G.  G.  King. 

27. 

The  Crucifixion.  Munkacsy. 

Etched  by  Koepping. 

28. 

Morning.  Jules  Breton. 

Etched  by  Koepping. 

29. 

The  Pawn  Broker’s  Shop. 

Etched  by  Koepping. 

30. 

Munkacsy  in  his  Studio.  Munkacsy. 

31. 

Rudolph  II.  Emperor  of  Germany, 
Chemist.  Brozik. 

in  the  Laboratory  of  his 
Etched  by  Mathey. 

32. 

The  Troubadour.  Brozik. 

Etched  by  Carre. 

33. 

The  Two  Families.  Munkacsy. 

Etched  by  Laguileermie. 

34. 

Papa’s  Birthday.  Munkacsy. 

Etched  by  Laguieeermie. 

35. 

Munkacsy  in  his  Studio. 

Etched  by  KoEpping. 
Presented  by  Mr.  S.  P.  Avery. 

WAR  MEDALS  AND  DECO- 
RATIONS. 

Loaned  to  the  Aluseum  by  J O H N A.  HADDEN^  Esq. 

(IN  ALCOVE  OF  WATER  COLORS,  M.) 

I.  ENGLISH  WAR  MEDALS.  Nos.  1 to  67. 

1.  The  Dunbar  Medal,  1650.  Gold.  Obverse,  Bust  of  Oliver  Cromwell  in 
armor  ; parliamentary  troops  in  the  distance.  Legend  : “ Word  at 
Dunbar.  The  Lord  of  Hosts.  Sept,  y®  3d,  1650.”  Reverse,  Interior 
of  the  House  of  Parliament. 

2,  3.  The  Peninsular  Medal,  struck  in  1848,  in  honor  of  the  exploits  of  the 

British  army  in  Spain,  Portugal  and  France,  1793-1814.  Silver. 

4,  Bronze  Medal  of  the  Honorable  East  India  Company,  struck  in  honor 
of  the  taking  of  Seringapatam  (May  4th,  1799).  Medals  were  struck  in 
gold,  silver-gilt,  silver,  bronze  and  tin,  to  be  distributed  according  to 
rank  in  the  army. 

5.  Silver  Medal  of  the  same. 

G,  7.  The  Waterloo  Medal.  Silver.  Struck  in  memory  of  the  victory  at 
Waterloo  (June  i8th,  1815). 

S,  9.  Waterloo  Medal.  Silver.  In  honor  of  the  Planoverian  forces  at  the 
battle  of  Waterloo. 

10.  The  Waterloo  Medal.  Silver.  Struck  in'  honor  of  the  Nassau  con- 
tingent. 

11,  12.  India  Medal.  Silver.  To  commemorate  the  first  Burmese  war, 

against  the  King  of  Ava  (1799).  Struck  in  1826. 

13,  14.  Silver.  Commemorating  the  capture  of  the  Ghuznee  fortress,  in 
Afghanistan,  July  23d,  1839. 

15.  The  Honorable  East  India  Company.  Silver.  Defense  of  Jellalabad, 
April  7th,  1842. 

16.  Queen  Victoria’s  Medal  in  commemoration  of  the  same.  Silver. 

17.  18.  Afghan  Campaign.  “ Candahar,  Ghuznee,  Cabul,  1842.”  Silver. 

19,  20.  Scinde  Campaign.  Sir  Charles  Napier’s  Victories  at  Meeanee  and 
Hyderabad,  1843.  Silver. 


War  Medals  and  Decorations. 


59 


21,  22.  The  Honorable  East  India  Company.  Bronze  star.  The  Gwalior 
Campaign,  1843. 

23,  24.  The  Sutlej  Campaign,  or  first  Sikh  war,  1845-46.  Silver. 

25,  26.  General  Naval  Service,  conferred  on  officers,  seamen  and  marines 
present  in  actions  from  1793  to  1840. 

27,  28.  The  Punjab  Campaign,  or  second  Sikh  war,  1849.  Silver. 

29,  30.  The  Baltic  Medal.  Naval  war  with  Russia,  1854-55. 

31,  32.  The  Crimean  War,  1854.  Silver.  Awarded  to  the  army  and  navy. 

33,  34.  The  Turkish  Crimea  Medal,  1854.  Silver.  Given  by  the  Sultan  to 

British,  French  and  Sardinian  soldiers. 

35.  The  Danube  Medal.  Turkish  general  service  during  the  Crimean  war. 

36,  37,  38.  The  French  Army  Medal,  given  by  Napoleon  III.  for  services 

in  the  Crimean  war,  1854.  Silver. 

39.  The  Indian  Mutiny,  1857-58.  Silver.  “Lucknow.” 

40.  The  same.  “Delhi.  . . Lucknow.” 

41.  The  War  with  China,  i860.  Silver. 

42.  The  same,  with  names  of  different  battles  on  the  clasp. 

43.  India  General  Service,  1863.  Silver. 

44.  The  same,  with  name  of  different  campaign  on  the  clasp. 

45.  46.  Wars  in  New  Zealand,  1856,  1866.  Silver. 

47,  48.  Campaign  in  Abyssinia,  1868.  Silver. 

49,  50.  The  Ashantee  Campaign,  1873-74.  Silver.  “Coomassie.” 

51.  The  Cape  Medal — South  Africa,  1853.  Silver. 

52.  The  same,  1879. 

53.  54.  Afghanistan,  1 878-1 S80.  Silver. 

55,  56.  Egypt,  1882.  Silver. 

57,  58.  Egypt,  1882.  Bronze  star. 

59,  60.  Long  Service  and  Good  Conduct.  First  granted  by  William  IV.,  in 
1831,  to  seaman  and  marines  who  had  served  twenty-one  years. 

61,  62.  Naval  service  covering  a long  period  of  years.  Given  by  Queen 
Victoria.  Silver. 

63,  64.  The  Indian  Army  — long  service  and  good  conduct.  Given  by  the 
Honorable  East  India  Company.  Silver. 


60 


Metropolitan  Museum  of  Art. 


65.  The  Turkish  Star,  or  Mijidi,  second  class;  gold  centre  and  rays. 

66.  The  same,  fourth  class;  gold  centre,  silver  rays. 

67.  The  same,  fifth  class;  silver  centre  and  rays. 

(The  last  three  numbers  are  specimens  of  the  medals  given  to  British 
officers  serving  under  Turkish  commissions.) 

II.  SMALLER  BRITISH  DECORATIONS.  Nos.  68  to  73. 

68.  The  Order  of  St.  Michael  and  St.  George. 

69.  The  Military  Order  of  the  Bath. 

70.  The  Star  of  India. 

71.  The  Civil  Order  of  the  Bath. 

72.  The  Bronze  Victoria  Cross. 

73.  The  Order  of  the  Guelphs. 

III.  ENGLISH  MEDALS  NOT  MILITARY.  Nos.  74  to  81 

74.  Victoria  Medal  for  Arctic  discoveries. 

75.  Medal  of  the  Royal  Life  Saving  Association. 

76.  77.  In  Memory  of  the  Coronation  of  Queen  Victoria. 

78,  79.  The  Christ’s  Hospital  Medal. 

80,  81.  The  India  Total  Abstinence  Association. 

IV.  FRENCH  DECORATIONS,  LEGION  OF  HONOR, 

Etc.  Nos.  82  to  89. 

82.  Henri  IV. 

83.  Napoleon  I. 

84.  French  Republic. 

85.  Henri  de  Navarre. 

86.  Louis  Phillipe. 

87.  Louis  XVIII. 

88.  Napoleon  I. 

89.  Louis  XVI. 


War  Medals  and  Decorations. 


61 


V.  FRENCH  WAR  MEDALS.  Nos.  90  to  107. 

90,  91.  Napoleon  I.  at  St.  Helena,  1821.  Bronze. 

92,  93.  Napoleon  III.,  for  services  in  Italy,  1859.  Silver. 

94,  95.  Napoleon  III.,  for  services  in  Mexico.  Silver. 

96,  97.  Napoleon  III.,  for  services  in  China. 


98. 

Napoleon  HI.,  Emperor.  Gilt. 

99. 

Napoleon  III.,  Emperor,  1863. 

Silver. 

100. 

French  Republic.  Silver. 

101, 

102.  French  Republic.  Silver. 

In  memory  of  July,  1830. 

103.  Sardinia  during  the  French  occupation,  1859.  Silver. 

104.  Louis  Phillipe.  Silver. 

105.  106.  French  Republic,  for  services  in  China,  1883-85.  Silver. 

107.  Madagascar  Medal,  1862.  Silver. 

VI.  FOREIGN  DECORATIONS,  LEGION  OF  HONOR, 
Etc.  Nos.  108  to  127. 

108.  Spanish.  Arragon,  Valencia,  etc. 

109.  Portugal.  Alphonzo  V. 

110.  Belgium.  Cross  of  the  Lion. 

111.  Henri  IV.  of  France  and  Navarre. 

112.  Louis  XVIII.,  1814. 

113.  Pius  IX.,  to  the  foreign  troops  who  aided  Rome. 

114.  Ducal  Saxony,  1833. 

115.  Isabella  la  Catolica. 

116.  The  Pope — Louis  of  Hanover. 

117.  Mexico — Notre  dame  de  Guardaloup. 

118.  Republic  of  Honduras. 

119.  Porcelain  Cross.  St.  Marie  et  Lazare. 

120.  William  of  Holland. 

121.  The  Pope,  1809. 

122.  Gustavus  III.  Swedish  Cross  of  Wasse,  1772.  , 


62  Metropolitan  Museum  of  Art. 

123.  Copper  and  Gold  Cross  ; “ Omnes  in  Uno.” 

124.  “Biblla  Sacra.” 

125.  King  Otho  of  Greece. 

126  Portugal.  Ordre  de  la  Conception. 

127.  The  Red  Eagle  of  Prussia.  Frederick  William. 

VI.  LARGE  DECORATIONS  WITH  NECK  "RIBBONS. 
Nos.  128,  129. 

128  The  Pope.  Large  white  porcelain  star. 

129  Pope  Gregory  XVI.  Large  red  porcelain  star. 

VII.  AMERICAN  MEDALS.  Nos.  130  to  135. 

130.  Gold  Medal  of  the  Cincinnati. 

131,  132.  The  City  of  New  York  to  Volunteers  in  the  Mexican  War. 

133.  The  City  of  Charleston  (South  Carolina)  to  Volunteers  in  the  Mexican 
War. 

134.  The  New  York  Life  Saving  Association. 

135.  The  Grinnell  Expedition  in  Search  of  Sir  John  Franklin, 


PHOTOGRAPHS  OF  SCULPTURES 


IN  THE 

MUSEO  TORLONIA  AT  ROME. 

1.  An  Athlete  awaiting  his  Antagonist. 

2.  The  Prisoner  King. 

3.  Minerva  (Athene). 

4.  The  Seated  Philosopher. 

5.  Venus  about  to  enter  the  Bath. 

6.  Pan  and  Apollo. 

7.  Cupid  and  Psyche. 

8.  An  Athlete. 

9.  Peace. 

10.  The  Pythian  Apollo. 

11.  An  Athlete. 

12.  Venus  of  the  Sea;  or  Venus  Anadyomene. 

13.  Apollo  Resting. 

14.  A Nymph. 

15.  A Faun.  * 

16.  Bacchus  and  Silenus. 

17.  Jupiter  Serapis. 

18.  Ceres  (Demeter), 

19.  Hygeia  (Goddess  of  Health). 

20.  The  Faun  of  Praxiteles. 

21.  Venus  Victrix  (Venus  Victorious). 

22.  Discobolus  (Quoit-thrower). 

23.  Venus. 

24.  The  Emperor  Domitian  as  Hercules. 

25.  Vesta. 

26.  Junona  di  Porto. 

27.  Abundance. 

28.  Boy  Playing  with  a Dog. 

29.  Hortensius. 

30  Caesar  Helius.  (Caesar  as  the  Sun-God). 

31.  Athlete  Preparing  for  the  Boxing-match. 

32.  Titus. 

33.  Hercules  passing  Cerberus. 

34.  Ganymede. 

35.  Mnemosyne.  (The  Goddess  of  Memory,  Mother  of  the  Nine  Muses). 

36.  Ceres  (Demeter). 

37.  ^sculapius  (^Asklepias). 

38.  Group  of  a Man  and  Woman. 

39.  Isis 

40.  The  Hermaphrodite. 

41.  Livia. 

42.  The  Crouching  Venus,  of  Bupalos. 

43.  Leucothea. 

44.  Prometheus. 

45.  Julius  Caesar. 

46.  Plotina. 

47.  Augustus,  seated. 

48.  Hercules  and  Tel'ephus. 


MODERN  ETCHINGS 


Presented  by  W.  L.  ANDREWS,  Esq. 

(The  appended  references  signify  as  follows:  D.,  Sir  William  Drake’s 

Catalogue  of  Seymour  Haden’s  Etchings;  W.,  Wedmore’s  Catalogue  of 
Whistler’s  Etchings;  G.,  Guiffrey,  L’  Oeuvre  de  Ch.  Jacque.) 

By  SEYMOUR  HADEN. 

1.  Amstelodamum.  Published  as  a tail  piece  in  Etudes  a V Eau-forte. 
(Plate  destroyed.  D.  37.) 

2.  Hands  Etching  “O  LABORUM  ” etc.  Published  on  the  title  page  of 
the  earlier  numbers  of  Etudes  a V Eau-forte.  (Plate  destroyed.  D.  84). 

3.  The  Moat  House.  (Early  proof.  D.  103.) 

4.  The  Two  Sheep.  (D.  127.) 

§.  Penton  Hook.  (Unfinished  trial  proof.  D.  62.) 

6a.  A Brig  at  Anchor;  Purfleet.  (First  state  with  “Dasha.”  Published 
\n  the  Portfolio,  1876,  p.  116.  Plate  destroyed.  D.  130.) 

6b.  The  Same.  (Published  state.) 

7.  The  Herd.  (Early  proof.  Published  in  Sonnets  et  Eaux-fortes.  Plate 
destroyed.  D.  115.) 

8a.  The  Inn;  Purfleet.  (On  zinc;  first  state.) 

8b.  The  Same.  (Second  state.  D.  122,) 

9.  Battersea  Bridge.  (On  zinc;  first  state.  D.  120.) 

10a.  Horsley’s  Cottages.  (On  zinc;  trial  proof  of  third  alteration  of  the 
plate. ) 

10b.  The  Same.  (Second  state.  D.  90.) 

11.  Out  of  Study  Window.  (A  view  from  an  upper  window  in  Mr. 
Haden’s  house  in  Shaw  Street.  In  mid  distance,  the  suburb  of  Brompton* 
Early  proof;  plate  destroyed.  D,  17.) 

12  Newcastle  in  Emlyn.  (Early  proof  retouched  by  Mr.  Haden;  plate 
destroyed.  D.  55.) 

13.  Kenarth,  South  Wales.  (First  state.  Published  in  Etudes  h V Eau- 
forte;  the  plate  afterwards  mezzotinted.  D,  57.) 

Horsley’s  House  at  Willersly.  (On  zinc;  first  state;  plate  destroyed. 
D.  88.) 


14. 


Catalogue  of  Etchings. 


65 


15.  Early  Morning;  Richmond  Park.  ( “First  state  before  the  plate  was 
cleaned. — S.  H.”  Published  in  Etudes  a V Eau-forte ; plate  destroyed. 
D.  21.) 

16a.  Newcastle;  Emlyn.  (Early  proof.) 

16b.  The  Same.  (Count  re-proof  ) 

17.  Kidwelly  Town.  (Early  proof  re-touched  in  pencil  by  Mr.  Haden. 
Published  in  Etudes  a /’  Eau-forte ; plate  destroyed.  D.  22.) 

18  Fulham  on  the  Thames  (“Third  state. — .S'.  HE  The  plate  is 
missing,  and  in  Paris  worn-out  impressions  are  being  sold,  in  which  the 
letters  are  printed  instead  of  being  in  autograpa,  and  the  words  sculpsit" 
and  "Fulham  sur  le  Taniise"  have  been  added — all  without  Mr.  Haden’s 
sanction.  Published  in  the  earlier  numbers  of  Etudes  a /’  Eau-forte. 
D.  i8.) 

19a.  From  the  Bridge  at  Cardigan.  (“Early  p’-oof.  S.  H.'’) 

19b.  The  Same,  retouched  in  pencil  by  Mr.  Haden.  (In  the  second  state 
the  plate  is  mezzotinted.  D.  6 .) 

20.  On  the  Test.  (Impression  on  India  Paper.  D.  19.) 

21.  Calais  Pier,  after  Turner.  (Trial  proof  of  a part  of  the  plate.  D.  140.) 
22a.  Dusty  Millers.  (Trial  proof  ) 

23b.  The  Same.  (Finished  proof.  D.  165.) 

23a.  Y®  Compleat  Angler.  (Tiial  proof.) 

23b.  The  Same.  (Count  re-proof.  D.  149.) 

By  J.  A M.  WHISTLER. 

24.  Portrait  of  Himself.  (VV.  52.) 

25.  Chelsea  Wharf.  (W.  81.) 

26.  La  Mere  Girard.  (W.  9.) 

27.  The  Title  of  the  French  Set  (of  twelve  Etchings  published  in  1858. 
W.  20.) 

28.  La  Retameuse.  (Signed  by  Mr.  Whistler,  and  with  his  butterfly  mark. 

W.  5.) 

29.  A Little  Boy.  (Portrait  of  Seymour  Haden  the  younger.  W.  22.) 

50.  Reading  by  Lamplight.  (Portrait  of  Mrs.  Haden,  sister  of  Mr. 
Whistler.  W.  25.) 

31.  Amsterdam;  from  the  Tolhuis.  (Signed  by  Mr.  Whistler,  with  the 
butterfly  mark.  W.  82.) 


Metropolitan  Museum  of  Art. 


GP) 

32.  Vauxhall  Bridge.  (W.  66.) 

33.  The  Rag  Gatherers;  Quartier  Mouffetard,  Paris.  (W.  17.) 

34.  Finette.  (W.  19.) 

35.  The  Landscape  with  the  Horse.  (Second  state.  W.  46.) 

36  A Ship-builder’s  Yard.  (W.  121.) 

37.  Bibi  Lalouette.  (The  son  of  Lalouette  who  kept  a pension  near  the 

Rue  Dauphine,  Paris,  where  Whistler  and  others  used  to  take  their 
meals  in  1859.  3°-) 

38.  Greenwich  Park.  (Signed  by  Whistler.  W.  33.) 

39.  Soupe  a Trois  Sous.  (W.  27.) 

40.  Longshoremen.  (W.  43.) 

41.  Bibi  Valentin.  (W.  28.) 

42.  Weary.  (A  very  delicate  dry  point,  printed  on  very  thin  India  paper. 
W.  83.) 

43.  The  Music  Room.  (Portraits  of  Mr.  and  Mrs.  Haden  and  Mr.  Freer. 
Signed  by  Whistler.  W.  26.) 

44.  Axenfeld.  (Signed  by  Whistler,  with  butterfly  mark.  W.  67.) 

45.  “En  Plein  Soleil.”  (W.  6.) 

46.  Liverdun.  (A  farm-yard  sketched  in  the  village  of  Liverdun  near  Toul 
in  Lorraine — or  Lothringen.  W.  4.) 

47.  The  Unsafe  Tenement.  (The  Scene  is  in  Alsace-Lorraine — or  Elsass- 
Lothringen.) 

By  CHARLES  JACQUE. 

48.  Interieur;  Women  Washing. 

49.  Moulin?  a Montmartre.  (G.  118.) 

50.  Paysage;  Cour  de  Paysan.  (G.  81.) 

51.  Le  Repas  de  Paysans.  (G.  49.) 

52.  L’Abreuvoir.  (Dry  point;  twenty-five  impressions  taken.  G.  259.) 

53.  Paysage;  Chevaux.  (Soft  ground,  dry  point;  twenty-five  impressions 
taken.  G.  261.) 

/ 

54.  Ecurie.  (Dry  point;  twenty  impressions  taken.  G.  265.) 

55.  Paysage.  (G.  99.) 

56.  Puits.  (G.  71.) 


Catalogue  of  Etchings 


67 


'57.  Interieur  d’une  Cour.  (G.  90.) 

58.  Devant  de  Maison.  (G.  72.) 

59.  Forge.  (Dry  point;  twenty  impressions  taken.  G.  256. ) 

60.  After  Ostade,  by  Ch.  Jacque  and  L.  Subercage. 

61.  Porte  de  Ferme.  (G.  311.) 

63.  Une  Femme  donnant  a manger  aux  Pores.  (G.  150.) 

63.  Les  Faux  Monnayeurs.  (Dry  point;  twenty  impressions  taken. 
G.  220.) 

By  J.  M.  W.  TURNER. 

64.  From  Spenser’s  Faerie  Queene. 

65.  Peat  Bog;.  Scotland. 

'66.  Coast  of  Yorkshire. 

67.  Juvenile  Tricks. 

68.  Young  Anglers. 

69.  Crypt  of  Kirkstall  Abbey. 

70.  The  Farm  Yard  with  the  Cock. 

71.  Solitude  ; Reading  Magdalen. 

These  prints  by  Turner  are  from  the  Liber  Studiorum,  a publica. 
tion  designed  and  carried  out  by  Turner  in  the  earlier  middle  portion  of 
his  career,  from  1807  to  1819.  The  work  was  possibly  in  rivalry  of  the 
Liber  Veritatis,  of  Claude, 

By  A.  APPIAN. 

73.  Le  Village  de  Chanaz  ; Savoie. 

73.  L’Etang  neuf,  pres  de  Greys;  Isere. 

By  A.  TAIEE. 

Le  Bain  du  Matin ; lie  et  Ouen. 

By  C.  DAUBIGNY. 

75.  Paysage.  (Second  state  of  the  plate.) 

By  EDOUARD  FRERE. 

76.  L’Atre  Rustique.  (Proof  before  lettering.) 

77.  Salle  de  Viellards,  k la  Sulpetriere. 


6b 


Metropolitan  Museum  of  Art. 


By  MAXIME  LALANNE. 

78 A.  A Fribourg;  Suisse.  (Impression  on  India  paper,  signed  by  the  artist. 
Published  in  the  first  edition  of  Hannertin  Etchers.^ 

78B.  Parc  des  Environs  de  Paris,  (Proof  before  lettering.) 

By  CHARLES  MERYON. 

79.  Entree  du  Faubourg,  St.  Marceaux,  Paris.  After  Zeeman. 

By  A.  LALUZE. 

80.  Le  Petit  Monde.  (One  of  a series  of  ten  plays  representing  the 
amusements  and  occupations  of  children.  India  paper  proof.) 

By  H.  BIANCHI. 

81.  Acolyte. 

By  EUGENE  DELACROIX. 

82.  Tigre  Couchd.  (Impression  on  India  paper.  ) 

By  FREDERICK  WALKER. 

83.  A Blind  Man.  (India  paper  proof.) 

By  DE  MITTIS. 

84.  Maison  de  Compagne. 

N.  B.— In  the  case  in  the  Alcove  of  Water  Colors  is  the  Hadden  Colle* 
tion  of  European,  Oriental  and  other^  Decorations  and  Orders,  civil  an 
military. 


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